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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library

1-1-1919 Volume 37, Number 01 (January 1919) James Francis Cooke

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Page 1 JANUARY 1919 the etude JANUARY 1919 The Coming of Peace Gives J Great Impetus to Music Study Now is the time for teachers to make sure of having the b obtainable material and the special reason for devoting these two pages to these most used works in music educatior, that the teacher may be offered, at this time of great musical opportunities, valual suggestions in teaching works j PRIMERS—RUDIMENTARY WORKS PIANO TECHNICS AND STUDIES PIANO COLLECTIONS r VOCAL COLLECTIONS BILBRO, MATHILDA. Spelling L LANDON.C. W. Writing Book for Music Pupils. BACH, J. S. Little Preludes and Fugue MASTERPIECES. The21 bo ARTISTIC VOCAL ALBUM FOR HIGH VOICE . JUVENILE SONG BOOK. .. Book II ... ^.. JO 30 “ Inventions for the Piano ALBUM OF DESCRIPTIVE PIECES. $1

Teaching Works for Elementary Piano Instruction ~[ INTERPRETATION STUDIES STUDENT’S BOOK SPELLING LESSONS IN TIME School of the Pianoforte, Vol. Two AND NOTATION FOR THE JUNIOR GRADE By Theo. Presser Price, 90 Cents By F. C. Bornschein Price, 80 Cents By Mathilde Bilbro Price, 36 Cents A logical sequel to the Beginner’s Book. It can These Interpretation Studies arc intended to in¬ This work acquaints the pupil with all phases of be used by any student who has done the work of cite the pupil’s imagination. Each title is suggestive, the first grade up to, but not including, the scales. notation. The work is all done by writing words on subjective or objective; thus through subtle emor A complete treatment of the scales forms the center the staff, even going as far as preliminary chord of the work. Major scales receive detailed treat¬ tional influence the physical conditions of each study writing in various scales. To teach a fuller knowl¬ The World of Music ment up to and including four sharps and four flats. can be readily apprehended. They arc especially At the end of the book all the scales are given. edge of the added lines and spaces in both clefs, this adapted for the junior (second and third) grades. Aside from scales, special attention is given to grace work is ideal. notes, broken chords and arpeggios, syncopation, hand crossing and wrist motion. PLEASANT PASTIMES FOR THE MELODIES OF THE PAST wm CHILDREN’S RHYMES YOUNG PLAYER By M. Greenwald Price, 60 Cents From A to Z By H. L. Cramm Price, 90 Cents By M. Greenwald Price, 60 Cents The good old tunes are always welcome and A recreation book for beginners that may be taken An interesting little book containing an attractive always in request. Each melody presented in this teaching piece for each letter of the alphabet. The book is first given with its original harmonies and up with any system of technical instruction. Rhyth¬ title of each begins with one of the letters of the accompanied by a verse of the text. Then follows an mic feeling is the fundamental principle of the little alphabet, and each number is in characteristic style pieces in this book, and a variety of keys are gone with the text, which may be sung. A very taking interesting variation or paraphrase. All are easy collection for young folk. to play. through.

Albums of Piano Music of Unusual Worth m ALBUM OF DESCRIPTIVE PIECES ALBUM OF PIANO PIECES BY FIFTY-ONE OLD HUNGARIAN Price, $1.20 WOMEN COMPOSERS MELODIES FOR THE PIANO Owing to the characteristic style of the pieces, Price, $1.00 By Arthur Hartmann Price, $1.20 which afford a change from the conventional forms Women composers have made wonderful strides of composition, this album will appeal to every piano In this unique book some of the most distinctive player. There are twenty-nine novel numbers in in the domain of art. There is a delicacy, a refine¬ and characteristic of the Hungarian folk-songs have this album that portray various moods, pictures, ment, and a tenderness displayed in the compositions been collected. There is interesting data in connec¬ of women composers. This album contains some of scenes and occurrences. tion with these melodies and their origin in the the best representative compositions of successful introduction. SUNDAY PIANO MUSIC women composers. A Collection for Church or Home STANDARD ADVANCED PIECES STANDARD PARLOR ALBUM Price, 90 Cents Price, 60 Cents Price, 60 Cents Pieces of the highest type, but of moderate diffi¬ culty, admirably adapted for Sunday playing at This volume contains such pieces as the good A collection of pieces of intermediate difficulty, home or for use in church services where it is not player delights to turn to continually, not pieces of admirably adapted for home playing and entertain¬ possible to have an organ. The best composers are the virtuoso stage, but real advanced pieces- by ment. The pieces are all of light and cheerful char¬ CONTENTS FOR JANUARY, 1919 represented, both classic and modern, some of the standard, classic and modern writers. Such com¬ acter, written largely for purposes of entertainment, most exalted inspirations of each composer being posers as Haydn, Mozart, Beethoven, Chopin, Men¬ but nevertheless having real musical value. Many of included. A most useful volume. delssohn, Moszkowski, Liszt and MacDowell being the most popular composers are represented. Edttoriaf Mus,c ' ‘ ‘:::::!::!! 1! i: o l«K Z represented. Mutation Reading A. Mum,na 6 the F-^ “ MISSISSIPPI RIVER SCENES TWELVE PIECES FOR THE By C. W. Kern Price, $1.20 NEW AND MODERN SONATINA PIANOFORTE A suite for the pianoforte of charming character¬ ALBUM By G. F. Handel Price, 50 Cents istic pieces lying chiefly in the fourth grade. They Price, $1.00 are truly American, being suggestive and descriptive Twelve gems selected from the works of Handel. SMS**** Not all the pieces in this volume are Sonatinas. They are not difficult and are especially suitable as ■ of a trip taken by the composer upon the Mississippi River. These numbers are excellent for teaching They are pieces of similar nature by various com¬ educational material for third and fourth grade pu¬ purposes and also make very novel and taking recital posers. such as Merkel, Spindler, Lichner, Becker pils. The selecting and editing has been done by numbers. and others. Altogether this is an important volume Dr. Hans von Biilow and the work contains a preface from an educational standpoint, inasmuch as it by the editor that is very valut^le and illuminating. FAVORITE COMPOSITIONS tends to cultivate a taste for a better class of music and also will act as a stepping stone to Sonatas for By M. Moszkowski Price, 75 Cents the average pupil. ALBUM OF PIANOFORTE PIECES The pianoforte compositions of Moszkowski con¬ By Carl Heins Price, 75 Cents stitute a large and important section in modern musi¬ cal literature. The compositions in this album are SEE PAGE 59 OF THIS ISSUE FOR NEW All of Heins’ compositions are exceedingly tune¬ continually represented on modern recital and con¬ AND IMPORTANT VOCAL. VIOLIN, ful and most of his pieces are of an easy or elemen¬ cert programs. All of these have been carefully ORGAN AND THEORY PUBLICATIONS tary grade, but all are musicianly in construction and edited. This album should be in the library of every of educational value. This collection contains the advanced pianist. best and most desired pieces of this writer.

An Opportunity to Ascertain the Real Worth of the Publications of the Theodore Presser Company THEODORE PRESSER COMPANY To afford a better opportunity of judging the genuine value of the books listed on this page we will gladly send any of them for examination. To further assist MAIL ORDER SUPPLY HOUSE FOR SHEET MUSIC AND MUSIC BOOKS in the selection of music, we have catalogs covering every classification. We will gladly send any of these gratis. - 1710-1712-1714 CHESTNUT STREET, PHILADELPHIA, PA. THE Page JANUARY 1919

The “Why and Wherefore” of Grading This list has been selected by experts many of them famous uachers. What Shall But, after all, names of pieces mean little The teacher should hate on ^l5rrf^*-srEaS!Gwj^-IV ON SALE” section. Look the music over thoroughly, learn all about it, make notes of what you need! buy what you require® (either for your pupils or for yourself) and return the balance to be credited. Thousands do this and in their own words THE ETUDE “wouldn’t know how to teach without it.” Success comes from knowing how. VOL. XXXVII, No. In our grading a scale of I to X is adopted. This affords opportunity for JANUARY, 1919 close and careful classification. Grade I represents the very easiest,: pieces in 1 Teach? easy keys, for small hands, sometimes in the five-finger position, always with¬ out scales’ frequently with both hands in the treble clef, with few chords, A Musical Message from France beautiful music in the world. To banish it from our program requiring little or no independence of hands...... is to make bricks without straw. Grade II represents an advance on Grade I: additional keys are employed, The most important musical interchange of national “It was a satisfaction to me to notice last week that the passages are slightly extended, an occasional scale of one octave in length courtesy arising from the great war has been the visit to being introduced, more chords are employed, and more independence of hands, orchestra from Paris played us a German symphony. It is satis¬ America of the Paris Symphony Orchestra, the Societe des Con¬ A Selected List of but no octaves are introduced. . . . factory to know that all through the war England and France, Grade III marks an advance on Grade II: still more keys are introduced, certs du Conservatoire de Paris, under the remarkably efficient who are not behind us in patriotism, have been playing German passages are more extended, including scales and arpeggios, chords are fuller, direction of the gifted French composer Andre Messager. This more independence is required, occasional octaves are introduced. music straight along. orchestra, composed of professors of the Conservatoire and cTVlaterials for the Grade IV is in the nature of an enlargement or amplification of Grade “I hope this misplaced zeal on the part of the less musical III, making increased demands upon the technic, as well as upon the musical other notable players, most of whom have gained the coveted members of our community will soon die down and no longer understanding of the student. Premier Prix, is believed by many of our leading American musi- The pieces here listed are graded according to the above specifications. injure the cause of the best music in our country.” cians to be the very finest organization of its kind to visit First Four Grades America. It is said to have been the first time that the orchestra GRADE ONE has played outside of the walls of the Conservatoire—an institu¬ Jazz! Jazz! Jazz! No. PIECES tion now long past the century mark. So greatly did the We must confess to our ignorance of how the word “Jazz” 9689 BUGBEE, L. A. Dance of the Fairy Que French government value this wonderful organization of musi¬ originated, except that it is a kind of phonetic pronunciation cians that it was sent to America aboard a battleship, rather 14410 McDOWALl'b.R ^Dreamland. 7218 SPAULDING, G. L. The Water Nymph. . of the din of the music itself. So many inquiries have come to 9448 KERN,CERN, C. W?W. In'joytandfIn Joyland. Graceful waltz movement, in C. than on the more precarious transport. The Etude about Jazz music that we feel that the following Both hands in treble clef, five-finerer no 9633 BUGBEE. L. A. Stars-a-Twinkle. 14083 PALOVERDE, M. Little Soldiers. Bright little polka, in F. The fact that the orchestra included the Beethoven Fifth space is needed. The actual composition of the Jazz orchestra Lively in rhythm, both hands in treb 12051 ROGERS, j. H. Little Miss Muffet. Symphony on its programs was a surprise to many who have 8176 STEINHEIMER, S. Marching Home. STUDIES is not standardized by any means. Frequently it is a combina¬ Vigorous 6/8 movement, Key of C, treb 11789 GREENWALD, M. Swing,^Cradle, Swing!. . MATHEWS’ STANDARD GRADED COURSE contended that everything in any way suggesting Germany be tion of t-ombor , saxophone, banjo, piano and drums. The 6948 SPAULDING, G. L. The Whistler. .... OF STUDIES. Vol. I, Grade I . 1.00 Key of C. Treble and bass clef. Charai 8248 SARTO r"iO, A. Let’s ^ave^ Song. !!*..... obliterated. Those who attended the concerts heard one of the In lyric style. Use in conjunction with any instructor. drummer in many Jazz bands is (with his “traps”) apparently 14654 STRICKLAND, L. Hop o’ My Thumb. 6497 KERN, C. W. Sunset Glow. most subtle and entrancingly beautiful performances of Beet¬ the viituoso of the organization. This arrangement is often Song without words, in G. COLLECTION 12160 RENARdTpD Soldiers Matching By. .. VERY FIRST PIECES .|0 hoven’s great symphony ever given in America. From the varied, however, by the addition of violins, ’cellos and other 3459 ENGELMANN, H. Day Dreams. A book of little gems, by various popular ominous taps of the first theme to the glorious ending the sym- sound-making contrivances which give a very new and some¬ phonv was played with impressiveness and beauty that few will times highly interesting combination of sounds. For instance, in forget. But, the fact that this orchestra, officially sent to our GRADE TWO one famous hotel orchestra the trombonist plays into the mouth No. PIECES No. PIECES 15107 ANTHONY, B. R. Sound the Bugles. . No. PIECES country by France at an hour when she was bleeding from the 14872 LANGE. O. Flight of the Swallows.. 6644 PENDLETON, R. H. The Juggler . of a suspended megaphone. The effect is not unlik£ a kind of Taking little waltz in G, with grace-nc wounds of the enemy, should play a work generally regarded 14741 ROLBe’W. mpUn?atLnr Waltz C.'. 14236 DUTTON, T. Lullaby. .!.. . Very popular. Key of B flat. . giant ’cello, strange as this may seem. Melody in the left hand, Key of C. Very characteristic. Key of D. as one of the greatest musical masterpieces ever written in 14065 LOEB-EVANS, M. Chinese March. . 11938 FORMAN, R. R. A Dream Song. Already comic pperas have been scored for jazz orchestra INSTRUCTOR Germany, was a shock from which some will have difficulty in Very expressive. Melody in left ham PRESSER. TIIEO. The Student’. 1 accompaniments, and the introduction of mandolins, banjos and 8452 NECKE, H. Think of Me.. 13953 SPENSER, G. Winter. Follows on alter the Beginner's Bi Lively finger work, in polka rhytiim. recovering. Was this a message from France to preach against 3585 ZIMMERMANN, J. F. Hayma odd percussion instruments certainly contributes novelty to the 9732 GEIBEL, A. Conestoga. intolerance ? Very popular. Key of F. An Indian dance, in E minor. tonal mass. Mr. Percy Grainger, possibly even greater in his 7687 CROSBY, MARIE. Waltz of tt 14306 WILLIAMS, F. A. The Merry Elf. The Etude has already, through notable contributions Lively finger action. Bright and characteristic. Study in si orchestral innovations than Richard Strauss, is especially fond a 3819 ENGELMANN, H. To the Din from Harold Bauer and Mr. John Luther Long, given its read¬ . Well-contrasted themes. Kev 7235 LAWSON, P. Rose Petals..'. of the plectrum and percussion effects of the new order. COLLECTION- ers an opportunity to consider both sides of the question of 8279 CRAMM. H. L. Good Night, Little Girl.. 9820 SARTORIO. A. I Think of Thee.. The following excerpt from an article in The Musical iretty. Key of G. In the style of a vocal quartet. YOUNG PLAYERS’ ALBUM . whether we should abandon the musical masterpieces of Germany A large number ot attractive teaching p Courier, which dates Jazz music back to the negroes of Atlanta pN because of the unmentionable monument of shrecklichkeit which of thii-ty years ago, is interesting. Our readers should not GRADE THREE the German Government of yesterday fostered. Editorially, m blame the so-called “Jazz” combination for the bad music that we have taken no stand. Every man has a right to his own 13090 some of the organizations play nor for the paranoiac convul¬ 148°84 CLARK,oC. BL lJSS, Longing.. opinion and it is not our place to force any of our readers to 8899 SHACKLEY?WF?gN.00TwmgCht Song . .. . 14329 MOTER, C. The Jolly Blacksmith. sions of some of the cheap players. In vocal style. Key of B flat. 15268 FELTON." wnMeXPBtowing Bubbles accept what we might think. 3860 KOELLING, C. Two Flowers . 1 RENARD,11. Each. Zeppelin had written this music I should not object. But most harmonica and even the Jew’s harp. It mattered not what sur¬ rounded the lard can there was produced a music that was ^y^he The0l Pre8Ser ‘‘0n Sale” Privilege is Adopted by Thousands of Teachers"- of it was written by men who were dead long before the Kaiser Notwithstanding the fact that the On Sale pnvilege as onginated by the Theo. Presser Go. ha* been in .ueee.sf.,1 f™ , -t.. ... eacnerS or Count Zeppelin were born, and who never knew and never inspiring in itself, and the faculty of the musical negro to pro¬ shared the spirit of the modern Hun. They wrote the most duce melody and rhythm, no matter what the instruments used.

Theodore presser company 1712 CHESTNUT ST. PHILADELPHIA, PA. THE ETUDE JANUARY 1919 Page 7 Page 6 JANUARY 1919 THE ETUDE What Kind of Accompanist Are You ? Imitation in Teaching Music technical part, approaches the zero point and the rea expressiveness of its playing nears one hundred per cent. The more we think about technic in our prac¬ By James Frederick Rogers By Archie A. Mumma tice, the more other people or an audience are going to think about it when they hear us play. So, we “Let me play your accompaniment T At a time when we are apt to devote the larger should welcome the educational means which will give How often one hears these dread words, sometimes part of our efforts towards developing the individu¬ technic to us in the most unconscious manner, and as a timid question—more often in the patronizing ality and independence of the pupil, I want to lift up leave our spirit free to explore untrammeled the com¬ demand of some very supercilious amateur. Usually poser’s intent as revealed in the composition which my voice in behalf of imitation in music study. Imita¬ it would seem as if the speaker thought the matter Learning How to Compose tion may be the most primitive means of education we bears his name. of accompanying the most simple thing in the world- have, but it is also certainly the most effective. The something demanding no special aptitude and little or child ic wholly dependent upon it almost from the hour no previous practice upon the part of the accompanist. A New Etude Series Especially Pr e pared by of his birth. Generally he spends the time from two Scales Two Octaves Apart That the one to be accompanied may have spent months to six years learning how to talk distinctly, how to or even years upon his own study of the proper inter¬ FREDERICK CORDER i walk, and all the other things his elders do which he By Roy E. Marengo pretation of the score seems to matter not the least, for can ape. He does not learn how to read out of books, Professor of Composition at the Royal Academy of Music, London, England _well, an accompanist is only an accompanist much less write, until he is about six years old. His If you’ve been practicing your scales in octaves, Accompanists seem quite naturally to fall into three little life is so hemmed in that he is incapable of similar motion, and think you have them running pretty smoothly, just put a gap of two octaves between groups. receiving any outside impressions save through imi¬ [Editor’s Note.—Professor Corder, one of the most distinguished musical theorists of the times, has here tating what others about him do. Think of the years hands and listen. If you are still satisfied, you are The self-assertive accompanist. prepared an extremely simple and direct series of articles which will help thousands of students to capitalise the he spends with only this one means of education to doing very nicely. Usually, the experiment shows up He himself feels that he is the soloist. He sets enable him to learn all the things he must know before many a discrepancy unnoticeable otherwise; ragged his own gait and his own dynamics, and the one he knowledge they already have by classifying their musical facts pertaining to harmony, etc., and enabling them to he '.an be a man, and yet think how well he learns edges appear where you thought the keys went down accompanies is as helpless as a child being dragged do at home in self-study much excellent and profitable work. Please note that in the first chapter article Pro¬ precisely together. The greater dissimilarity of pitch them and how unconsciously. When we have learned along the streets by an excited mother. fessor Corder has discussed some things that to many may appear very rudimentary indeed. In addressing the accounts for this. It is not advisable to make a rule of The self-abnegative. a filing in a wrong way and in later years have tried immense Etude audience this is necessary at the outstart. Our advice is to follow the series very closely and care¬ to correct it, we begin to see what a tremendous force practicing scales in this manner, but for the pupil who He is so humble that l.e trails along behind and fully. Professor Corder, with his large grasp of human nature and natural wit, has chosen the very interesting imitation is in our childhood’s education. has considerable “smoothing out” to accomplish, an seems to echo his part. He is usually a part of a Are there not many children in music, whether in occasional try-out by this plan serves as a good check¬ beat or more behind, and in the interludes he is so dialogue form for this series. On the whole, this is probably the very next best thing to a course in theory, har¬ point of years or in musical advancement, to whom this ing up of progress. timid that the entire effect is lost mony and composition with such a teacher as Professor Corder.] means of education would mean much more than mere The real accompanist. pedagogic training of fingers, keys and notes? Of He is too fine an artist to think of anything but course in order to profit by imitating we must have assisting in recreating an art work. His one sreat Introduction not designed as a Beginners’ Course in Harmony, hut something worth while as a model. Many of us do Happy New Year! thought is that of preserving the artistic balance with This series does not for a moment pretend that in rather to show those who have acquired a knowledge not live in a musical atmosphere, and are almost wholly the one whom he is accompanying. Do you really mean that ? seven installments, in a magazine of the character of of the rudiments of music, say up to the third or dependent upon the playing our teacher does for us The art of accompanying is one of the rarest of gifts. The Etude, appealing to a very wide audience, any¬ fourth grade, how this knowledge may be adapted. once or twice a week, for our music. I always regard Or are you merely repeating it as Accompanists are born—not made. Still some that thing more than the outstanding points in musical the time spent in playing their pieces for pupils as the the minister’s parrot sang the must work at it without lieing of the rarer son might Materials Called For composition can be covered. most important and sacred part of the lesson. If Doxology ? improve with suggestions from those who have suf¬ Experience, however, has shown that there are thou¬ The reader who has covered the subject of elemen¬ the student’s imagination is going to be fired, and. his What are you going to do to make fered from many would-be accompanists. inspiration and love of music kindled to the highest sands of people who are ambitious to compose, and tary harmony in detail will always be at an advantage it a “happy” new year ? To lie an accompanist one must at least tie aUe to in musicianship over the reader who is obliged to de¬ Prof. Frederick Corder. pitch, it is not going to be discussions about notes, play the notes, and he must learn once and for all many who make attempts, who would be benefited by What have you planned to stir up a pend upon his own grasp of the subject, as revealed to fingers and keys which will do it. These, of course, that the notes of "even an accompanist" are not always plain, practical facts relating to the actual work of little joy for others for 365 days him through his observations in piano playing. For Prof.—Yet I am asking you to play the same selec¬ are necessary at the proper time; but when a pupil’s easy. In fact, an accompaniment may be as difficult composition. musical soul has been appealed to, he not only begins to come ? that reason, the reader is advised, when it is possible, to tion of tones as before, only starting with E. What as the solo part, and yet how often the piano part to There is no substitute for finished musicianship: you have in your uninstructed mind (as will your un¬ to imitate tones, but also the physical things which Are you thinking of that, when there is nothing that will take the place of long-con¬ work out persistently, with or without a teacher, a a Beethoven or a Brahms sonata is attempted at sight, happy pupil) is this: produce the tones, such as position of the hands and you say, with the greatest assurance by those who would not tinued drill such as that which Beethoven, Brahms, De¬ course in Harmony with some such books as Harmony fingers at the keyboard* etc. He may make many mis¬ “ Happy New Year. ’ ’ dream of playing a solo composition by the same writ¬ bussy, Verdi, Tschaikowsky underwent. On the other Book for Beginners, by Preston Ware Orem, or Dr. takes before he learns to play a piece well both emo¬ ers, even with months of practice. Whether an ac¬ hand, all advance is worth while. Because you do not Hugh A. Clarke’s Harmony. tionally and physically, just as a child will say “foon” As a music lover, you can have companiment is simple or difficult, unless one is fully know all of the 200,000 words in the English language For those who have not worked out such a course, for a long time before he learns to say “spoon,” but wonderful powers for making master of it at sight it is at least due the accompa¬ does not mean that you cannot talk English. Take any the following preliminary knowledge will be necessary: he will finally end by playing it right. happiness. nied to rehearse it privately beforehand. In fact, this page of Webster’s Unabridged Dictionary and check So, the point is, our imitative powers must be ap¬ Why not resolve, never to let one of Lesson I is far more important for an accompanist than for a up the percentage of the number of words you do not pealed to first, before the attempt is made to teach us the 365 days‘the Lord is giving solo performer for the simple reason that he is to know in comparison with those you do know. Carry Student.—1 have had a pupil sent to me to learn things from the printed page. This places the least you, pass without making a little accompany. Rudiments of Music. Just what are Rudiments of part of mechanical training at the beginning of our this on for several pages and the result will surprise happy, cheerful music for some¬ This brings up the second requisite for a good ac¬ Music? Of course, I learnt once, but I have quite and you will never straighten this matter out until studies, and gives us the opportunity of devoting our you. Musical learning is likewise infinite; neverthe¬ one who needs it. companist, that, having the notes at his finger ends, he forgotten. you realize that the tones of a scale are not whole time to real musical appreciation. How many less, one can do a great deal with a knowledge of cer¬ That will help make it a happy new can go along with, not forge ahead of, or tag behind, Professor.—Couldn’t you make it out for yourself? students have learned to really hate music because tain essentials and it is these essentials which this CONSECUTIVE. the soloist. To accompany never means to follow, nor Rudiments, or Elements, include all about the signs by their teachers got the cart before the horse and tried year in fact for your friends and series proposes to present. Stud—Yes, they are, in the key of C. does it mean to proceed at an unvarying tempo. It to teach them to read before they had learned how to for yourself. It is within the possibility of nearly everyone to which music is written down- Prof.—What about the black keys? You may not be means that the accompanist not only goes along with, talk! Our individuality and originality will sprout compose. A critic has put it this way: “Nearly every¬ Stud.—O, she knows her notes and all that: I sup¬ using them, but they are there, aren’t they? A scale, I but anticipates, what the soloist is going to do next when the time comes. ■ This is the one thing about one has a few tunes in his head, and if he has just pose it is scales. Why do people make such a fuss repeat, is not consecutive; the half-steps are sometimes Not only as to time, but as to quantity of tone, the music which cannot be taught. If we have it, it is enough technical skill to present them right, he may about scales ? They make me quite tired, and there are double (whole-steps), sometimes even triple (step-and- accompanist must never be self-assertive. How rarely sure to show itself sooner or later. Hundreds of Pieces (?) have the satisfaction of knowing that he has produced none in any of the pieces I have ever played. a-half). You don’t grasp this because of the way the do we hear accompaniments which are sufficiently sub¬ We were much amused recently to read a news musical compositions.” Prof.—Any more than there are examples of the keyboard is made, but you would see it plainly enough dued. Of course, there are moments when the ac¬ The Example of Liszt item to the effect that a certain concert violinist of If the coming series does nothing more than to en¬ alphabet in any books you have read. The scale is the if you were learning the fiddle. Now mark on the companiment must stand out, when it displays solo considerably more than local reputation was spending courage some few gifted musicians to make a start in foundation of music, all the same, and it is because you scale of C, which we have written down, the half-steps From a study of the life of Liszt we all feel that he passages, and these passages deserve bold treatment. was about the greatest pianist who eVer lived. One his summer practicing hundreds of pieces for the the right direction, its authors will be gratified. It is don’t really know your scales that you are such a and the whole-steps. coming . season. If this was literally true, and the It is one of the requisites of a good accompanist that would imagine, then, that he, more than any musical he knows when to become soloist. Modem accompani¬ wretchedly bad reader of music. pedagog, would know what was worth while trying artist in question had no wiser habit of concentration Stud. (angrily)—-How do you than this would indicate, it is very doubtful if he ments are likely to be complex. By contrast some of to teach in music. And yet, one of my piano teachers know I am a wretchedly bad reader ? would ever arrive at success. A mature artist of the simpler ones seem trifling and are too often played in Berlin tried to show me how vastly superior the ... I am. remarkable power of memory, may indeed have sev¬ with seeming contempt. It is just these simple ac¬ teaching of a musical pedagog is to the teaching of Prof.—Of course. We all are un¬ eral hundred pieces in his repertoire, though several companiments (some of those of Schubert, for in¬ Liszt. He said that Liszt had a peculiar way of tilting stance,) which serve as a test of the ability of the til our scales are learned with toil Stud.—I see; two whole and a half, then three whole dozen would usually be nearer the mark, but be assured performer. his arm when he played arpeggios, which he could he never learned that number in a single summer. and time. Tell me now, how many and a half. But it is not very thrilling. never impart to a student. Now, he said, a musical To master a concerto thoroughly for public con¬ Presuming the accompanist has acquired sufficient notes are there in a scale? Prof.—No more is a, b, ab; a, d, ad; but you had to pedagog would have thoroughly analyzed all this so cert work, usually occupies the greater part of a year, technic, the composition has been given the study it Stud.—Well, I do know that. learn all that and much more before you could read that it could be made clear to any student. Yes! He but during the year a limited number of shorter pieces needs and that he is aware of the fact that he is not Seven—or is it eight? (doubtfully). words of one syllable.' Now there is only one way to to follow after, precede the soloist nor drown his would make the student so self-conscious of the tech¬ may also be acquired. One mistake that many young Prof.—Neither is right1. There are learn all these things; by dogged repetition. Make efforts, there many be lacking in the one who so “loves nical feat he was doing, and of the way he was trying artists make when they first attempt to guide their own twelve half-steps to the octave and your pupil write out all the major scales, in any sort to play accompaniments" that something—which may to do it, that real music would fly out of the window musical studies, is to be too impatiently ambitious, and twelve notes. What we call a scale as well be called sympathy—that fellow feeling which of order, and you do the same, checking one another. and leave its shell of dead, technical, pedagogic mate¬ (musically) bite off more than they can chew. ’ is a selection of seven out of these. Make some sort of a game or competition out of it. rial behind as a remembrance that it was once there. If one has a few weeks or months in the summer causes him to fuse his own efforts with those of the one he accompanies into the making of a perfect Stud.—I don’t understand in the It goes without saying that a wide-awake pupil would to devote to working up a repertoire, it is well to "hole and a thing of beautv. The one who would least. Do you mean a chromatic have learned to imitate Liszt’s arpeggio playing, at decide soberly on a very limited number of pieces, *6 2mt_*£_**_™_ and then stick to them. Indeed, while memorising a accompany should first search himself for the pres¬ scale ? least to the extent of his capability. Can any system ence of this quality and. finding it absent, he should Prof— Play me one octave of the 4^=r*" I of education guarantee to do more than this? piece, it is well not to play any other piece whatever, until the task of memorizing is completed. ZSf.to , an unsought source of weariness and pro- scale of C majdr . . . Thank you; The greatest part that imitation plays in our educa¬ This is not intended to discourage sight-reading, 1 y to his musical friends, and leave the wonder- now one octave of the scale of E Stud.—Oh, yes 1 But surely it won’t take long to learn tion is that it unconsciously teaches us the necessary which is excellent both for its own sake, and to in¬ dH’iife^gift accomPan>’*n2 to those who possess the major . . . Why do you have to that? mechanical details while our attention is riveted on form one’s self of a wider range of music, but one stumble and alter notes ? Prof.—Longer than you think. You have had it be¬ the ideal which we are striving to imitate. We all should make a sharp distinction between sight-reading JS* “^ompanists—accompanists who are in artistic Stud.—Because I have forgotten fore you for ten years at least and haven’t begun to know that music does not become great art until its and the serious mastery of a reportoire. E. H. P. ” with their fellow performer—are rare, indeed, where the wretched sharps come. learn it. Why? and as precious as they are uncommon. THE ETUDE ETUDE JANUARY 1919 Page 9 Page 8 JANUARY 1919 Two Pianos vs. One all the intervals in my lists and get this well drilled into Stud,.—Because I didn’t see the importance of it, I By T. L. Rickaby suppose. I am not sure that I do yet. me before proceeding. Prof.—Because you have brought the wrong sense to Stud.—What, are there more? Prof.—We have not spoken of the unisor, four , Music lessons may be given when the studio equip- bear. You may play scales and mark the steps of them, fifth and octave yet. What happens to them when rnent consists of a piano, piano stool and a cha.r. and so forth, till you are black in the face and yet never The modern, up-to-the-minute music room, however, lear-n anything. But once sing, hum, or whistle them, or, inverted you can discover for yourself? America’s Greatest Musical Stud.—Why they change into one another, is different, and contains a number of things that were as I have said, puzzle them out upon the violin, and the not dreamt of in the philosophy of the music teacher fact will dawn upon you that your eyes are deceiving of a few vears ago. The most important feature of Opportunity you all the time. Look at those two scales I wrote any studio is, of course, the piano. Once upon a time down. Don’t they look identical? Sing them and you there circulated in musical circles an ancient joke, Are You Ready to Take Advantage of the Chance of Your Lifetime? will realize why you cannot read well. You don’t know attributed to almost every composer of any conse¬ whether the F is Ffc, F'q or Fb, and so long as you quence. It was to this effect: "What is worse than one go on thinking of it just by its front name, so long will flute?” Answer, “Two flutes. To paraphrase this “Glory to God in the Highest, and on Earth Peace, Good Will TO ALL MEN ” you—and your pupil—make no progress. the same as the rest did. pleasantry, the question might be “What is better than Stud.—I see. Then the fault is really with the way Prof —Yes, a fifth inverted becomes a fourth and a one piano?” And I would answer unhesitatingly, MAJOR GENERAL J. FRANKLIN Do not wait for the great public celebration. in which music is written, which is inadequate. fourth a fifth. They remain otherwise unchanged, so “Two pianos,” and for many reasons. PRAISE GOD—THE WORLD-WAR IS Give more studio recitals than ever with your Prb'f —Precisely; but so is our alphabet. You never they are never major or minor, but called perfect First of all when the teacher plays for a pupil, the OVER! BELL, U. S. A., SAID: pupils. Play bright, happy, cheerful music. know, if you only use your eyes, whether “r-e-a-d” is to instead. It is merely a name. If you alter them they inconvenience of changing places is eliminated and time All mankind rejoices in this, the greatest “A singing army is a fighting army.” •be pronounced like “red” or “reed.” We must use our can be augmented or diminished, like the others, but is saved. (In spite of the discussions that this last Don’t try to give popular music a black eye. moment of the world’s history—the glorious Our singing army has proven a triumphant ears all the time, and don’t you forget it. notice, please, that then their character is more changed sentence will bring to mind, I cannot imagine any one Remember that it is a step in the right direc¬ triumph of Right over the forces that were army. Nekt, you will have to teach your pupil about the than is that of those others. From being dull and teaching and not playing for those taught.. The tion and it is your fault if you do not lead those larger collections of steps, called intervals, and here is empty sounding they become strange and weird. Play greatest teacher that ever lived taught by his playing.) demolishing the highest aims of humanity to MUSIC HAS BEEN ONE OF THE BUL¬ who are incapable at present of enjoying any¬ the same trpuble intensified. the above fourth with the F sharped. . ( Further, in illustrating various movements and posi¬ satisfy their greed. WARKS OF OUR MORALE—ONE OF THE tions of arms, wrists, hands and lingers, the pupil thing else, to revel in the delights of better Stud— Why? Stud, (trying on the piano).—So they do. But isnt MUSIC HAS COME OUT OF THE WAR THINGS WHICH MADE OUR BOYS IN¬ Prpf.—Because intervals, especially large ones, are can imitates the teacher much better when there is no music. from C to FS the same thing as from C to Gb? SPIRITUALIZED AND ENNOBLED AS A VINCIBLE. difficult to sing. Also because of the confusing fact Prof.—Not quite, really, but so nearly that we make break-or interruption between the example given by The teacher who at this time isolates herself GREAT HUMAN NEED. MILLIONS OF MEN WILL RETURN that they mostly change their character when you turn the same key of the piano do for both, thereby entailing the one and the attempt by the other. With the on an island of music which only she relishes is teacher playing at the second keyboard the rhythmical TO CIVIL LIFE FROM THE ARMY AND thefn bver, or invert them. much trouble and confusion. Accept this, as you must Never before has our art stood so high in the making a tragic mistake. perceptions will be much stimulated by the efforts of Stud—Oh, yes, there used to be dreadful tables about the incorrect signature of the minor key and other minds and hearts of the people. THE NAVY, WANTING TO SING AS the pupil to "keep up.” Development of harmonic WE HAVE HERE A HUGE CHANCE IF a diminished fifth becoming a superfluous fourth, and musical worries as unavoidable difficulties. Suppose You who have chosen music as the means THEY NEVER WANTED TO SING BE¬ things like that. What is the good of it? now we condense what we have said about intervals ideas may be encouraged and will expand much earlier WE ARE ONLY WIDEAWAKE ENOUGH through which you most of all want to serve FORE. Prof.—It is part of the essential drill, by which you into the smallest space, to pack it neatly into the by the addition of chords or counterpoint to the sim¬ TO GRASP IT. plest melodies (and even exercises) of the beginner, learn to defeat that perpetual warfare of the eye and memory. mankind—do you realize what this moment This fact is so significant that musicians such exercises and melodies gaining immensely in The experience of almost all public librarians the ear. But we might make it clearer by avoiding those Intervale have number - names, as second, third, means for you? Do you grasp the vastness of should not let it escape from their thoughts interest thereby. Another good feature of the two- has been that the people who have cultivated ugly technical terms. Put it thus : fourth, etc. your opportunities now? for a single day. piano lesson is that the pupil becomes independent, not 1. Intervals have number-names and kind-names. Intervals have kind-names, as perfect, major, minor. The cost of the war has long passed the fron¬ the reading habit with the so-called “trash,” easily put out: in other words, he learns to attend With this capital let us build to new musical The number-names—as Unison, Second, Third, etc. tire of it in time, if they are given an opportu¬ strictly to his own business. tiers of our imagination. Our own casualties— heights. No matter how popular may be the Intervals when inverted become reversed, second be¬ nity to receive something better. Fourth, etc., tell you how many letters are involved In regard to music specially composed or arranged tiny in comparison with those of some of our interest that some have developed, it is an in¬ (a to e—f to bb, etc). (The Unison is, of course, not coming seventh, etc. for two pianos (there are many very fine works of splendid allies—are approximately a quarter of terest which is invaluable. THE BRIDGE FROM “OVER THERE” a step at all.) Intervals when inverted change minor and major, diminished and augmented; but perfect remains perfect. that kind available), it may be wise not t<> spend too a million. TO THE “SYMPHONY PATHETIQUE” IS The kind-names tell you what kind of steps are in¬ much time on it unless one is sure the pupil is so sit¬ Stud.—I think I shall make my pupil write that out A LONG ONE—BUT WHOSE FAULT IS volved, just as with the scales. uated as to have an opportunity to use it afterward; THE SUDDENNESS, OF THE COMING ORGANIZE MUSICAL CELEBRATIONS large, in print-letters on a card, and keep it always IT IF THE RETURNING SINGING HERO Sfud.—l feel T am getting confused. nevertheless with an apt and well advanced pupil or OF THE ARMISTICE HAS BEEN STAG¬ TO CELEBRATE PEACE. before her. Prof.—Just as some of the steps in the scale were professional friend, music for two pianos might be DOES NOT PASS OVER IT? Prof.—A good idea. And you might do the same GERING. NONE CAN YET GRASP ITS LET THERE BE GOOD MUSIC, half-steps and others whole-steps, so from C to G will made a source of much pleasure and educational bene¬ for yourself, for you will need it when you try to MEANING. STRONG PATRIOTIC READINGS, AD¬ be one kind of fifth—listen! and from B to F quite fit to the whole class, who might lie invited to listen understand chords, which is the first real step in music. ORGANIZE CLASSES IN PIANO STUDY another kind—hark again! once in a while. But it is in giving an every-day les¬ We prepared for war with such amazing en¬ DRESSES, GOOD CHEER, HONEST CON¬ Stud.—And the woman shall say “I will.” FOR ADULTS. HUNDREDS OF THOU¬ Stud.—How horrid! Why does it want to sound like son that the use of two pianos is urged, and where ergy and organization that Europe was dumb¬ FIDENCE IN YOUR FELLOW-MAN, REAL [The following is another way of representing the SANDS OF MEN WILL COME BACK that? it may utilized to the greatest advantage. founded. OLD - FASHIONED, UNCONSTRAINED inversion of intervals.—Editor of The Etude.] WANTING TO PLAY. Prof.—That I cannot explain just now. . Our business Now our task is to prepare for Peace. AMERICANISM. is to notice that this shock to the ear is no shock to IF YOU HAVE NEVER TAUGHT Let it be a peace that will ennoble us and our Preach of the victories of music and of the the eye until we have really learnt what I am trying Don’t Discourage Your Pupils ADULTS BEFORE — RIGHT ABOUT children for generations to come. It has been possibilities of music. to teach you. Here is the table of intervals: FACE, AND GET READY TO MEET No one on earth ever accomplished fully and com¬ everlastingly proved that the Militarism that 1. Major (larger). pletely all his life-ideals. An old proverb says, "The THE RETURNING ARMY! took a century to build wTas futile before the 2. Minor (lesser). king himself does only what lie can, not what he The Etude will be glad to help you in sug¬ 3. Perfect. wishes.” Even the most successful men generally protective anger of a peaceful people who could Over the Top With Song gesting material especially made to cover the 4. Augmented (still larger). carry about with them in their inmost hearts a secret in less than four years construct a still mightier and lurking sense of failure. But that is no reason Where are the wonderful men who went in case of the adult beginner. 5. Diminished (still smaller). machine when the necessity arose. why one should allow his outlook to become pessi¬ into the fray in nineteen fourteen bravely sing¬ THIS FACT ALONE MAKES THIS VIC¬ Adults dread beginning music because they Stud.—But why all these varieties? mistic or his manner sarcastic and depressing. Many ing _ “Sambre et Meuse” and Tipperary”? Next month Prof. Corder will take the Their souls repose on the altars of humanity are afraid of the kindergarten methods which Prof.—You will find them indispensable. The major musicians and music teachers, we regret to say, especially TORY VASTLY GREATER THAN ANY that consecrate the fields of Flanders, Picardy mark most beginning books and music. intervals are the 2d, 3d, 6th and 7th. These you get if next step in this interesting and fascinat¬ those who have not always received that recognition OTHER IN HISTORY. you reckon upwards from the key-note of a major scale, ing subject. and the Marne. The great war staggered on, from the public which they feel they deserve, are doing Americans will spend the next year celebrat¬ crunching hamlets, cathedrals, armies and IF YOU SET A DOUGHBOY AT PLAY¬ and before going further, I should make my pupil write untold harm to the cause of musical art by their caustic mighty cities in its jaws. Only last March— ING “DOLLY’S WASH DAY” OR “THE out a similar set, reckoning from D, from E, and so on, ing this victory as never before. and pessimistic speeches, which tend to dishearten their think of it!—last March, Haig told the world FAIRIES’ CHATTERBOX” DON’T BE in the same key; not as we did with the scales, iti dif¬ younger colleagues and even their pupils. AND MUSIC, MUSIC, MUSIC, MUSIC, that the allies were fighting with their backs SURPRISED IF HE HUNTS AROUND ferent keys. The minor intervals you will find cor¬ Questionnaire bar nobler is the sentiment found in an ancient Greek WILL BE A PART OF ALL THESE CELE-' to the wall. It was a fight to the death. epitaph, of which we here give a free translation: FOR HIS HAT AND WISHES YOU A respond with these in the minor key; but I shall write BRATIONS. America shuddered at the possibilities. Why them descending, for a reason to be explained here¬ “A shipwrecked sailor, buried on this coast, didn’t Foch bring up his reserves? Where PLEASANT “GOOD EVENING!” (Frederick Corder’s “ Learning How to Compose ”) Bids you set sail; after* WHAT PREPARATIONS ARE YOU were the Americans? The Americans were One particularly good book for adult begin¬ 1— How many tones are there in a scale? Pull many a gallant ship, when we were lost, there with a seng on their lips when France, Weathered the gale. MAKING TO HELP IN THE MUSIC OF ners, especially prepared for this purpose, is 2— Where do the half-steps come in the key of C? Great Britain, Belgium and Italy, worn with THE GREAT PEACE? that known as “Suggestive Studies,” by Caro¬ In A? In E? four years of war, were almost afraid to sing. line Norcross. Get books of this kind. Study 3— What is meant by the “inversion” of an interval ? THE UNITED STATES GOVERNMENT It was at Chateau Thierry, and they were Ma¬ 4— What effect has inversion upon a fifth? A Look Out for the Second Finger HAS, AT VAST EXPENSE, INTRODUCED rines who led that day. With “red poppies on them through and through, so as to be ready their helmets” they leapt toward the enemy fourth? A unison? MUSIC AS A REGULAR PART OF THE for the great opportunity that is surely coming Stud.—But isn’t there a B natural in the scale of C lines singing at the top of their lungs: 5— What is the characteristic interval in a minor By F. J. Manlove CAMP WORK OF THE SOLDIERS. to you if you do not let it slip out of your minor? HAIL, HAIL, THE GANG’S ALL HERE! Prof.—That is curious. It needs to .be B natural scale ? fingers. 6— What is the significance of the words “major” To teach beginners to form the habit of curved PRESIDENT WILSON HAS SAID: And the gang was certainly there. Can’t going up and B flat coming down, in order to sound fingers I have found it a great help to have them con¬ “The man who disparages music as a Other men will want to know more of musical nice. But this involves a queer interval with A flat— and “minor” as applied to a scale? you see their determined, fearless faces—can’t centrate their efforts on the second finger. There arc luxury and non-essential is doing the na¬ you hear their strong manly baritones and history and musical theory. Be ready to or¬ what interval? 7— What is meant by a second? A fourth? A so many things for the beginner to remember, and their tion an injury. Music now, more than ganize classes in History and Harmony at once. Stud, (after much thought)—I see. It is a step and seventh ? tenors as they shouted their defiant battle 8— What is a perfect fourth in the key of G? fingers slip out straight almost unconsciously. 'It is ever before, is a present national need. song? a half! next to impossible for a beginner to straighten out the How can it be made into an augmented fourth? A There is no better way to express patriot¬ It was the singing army that triumphed on Prof.—Good! A step and a half is an augmented remaining fingers if the second one is well curved and JUST THINK FOR A MOMENT. OUR diminished fourth? ism than through good music.” that crucial July day. .It was song that put second. Next, you will find that if you take any of in proper position. And with onlv one finger to re¬ MEN HAVE BEEN OVER IN A COUNTRY 9— How many kinds of intervals are there? Name new strength and cheer into the hearts of the these intervals the other way about—from D up to C, member the task seems much easier. GEN. PERSHING HAS SAID: brave allies who at that moment realized that WHERE MUSIC IS HELD IN A REVER¬ for instance, or from C down to E—the minor ones them. In other words, let the second finger be the model, “Music and entertainment are as im¬ the great cause of humanity was not lost. all become major and the major ones minor. It is the 10— What are the major, intervals in a scale? The ENCE IN SOME WAYS WHOLLY UN¬ and tell the pupils that with one model it is easy portant to our soldiers as food and sleep.” same with augmented and diminished. I should invert minor ? to induce the other fingers to behave in proper order. KNOWN IN AMERICA. THEY HAVE 1 TEE ETUDE JANUARY 1919 Page 11 THE ETUDE . Page 10 JANUARY 1919 stone The world is years past that fallacy. HAD THE BIRTHPLACE OF THIS AND privileged to hold their heads a little higher, The musician who does not contribute to the THAT MASTER POINTED OUT TO and at the same time enter into the public wor ' m,blic welfare without expecting to be paid for of their communities with more interest and THEM. every key he presses down is sometimes “suc¬ BEFORE OUR BOYS GET BACK MANY happiness. . cessful” in the mean sense, but the bigger men WILL HAVE HAD AN OPPORTUNITY This does not mean bragging or boasting. TO HEAR BAND, SYMPHONY AND VO¬ One of the big business men who took up Y. CAL CONCERTS INFINITELY FINER C. A. work in the camps on the other .side, ques¬ THAN ANYTHING THEY HAD EVER tioned thousands of men at hut meetings and DREAMED OF HEARING. HUNDREDS found that the soldiers regarded the following AGAIN, YOUR GREAT OPPORTUNITY (reported in the American Magazine for No¬ OF THOUSANDS WILL HAVE HEARD IS HERE' WATCH THE MUSICAL vember) as the foremost weakness in man that THEIR FIRST GRAND OPERA. THIS SIGNS OF THE TIMES JUST AS MUSICAL LEAVEN WILL ALL BE the soldiers despised: CAREFULLY AS THE STOCK BROKER 1. Cowardice. WASTED IF YDU LET THE DOUGH (TO WATCHES CONDITIONS IN ORDER TO 2. Selfishness. SAY NOTHING OF THE DOUGHBOY) 3. Stinginess. KNOW HOW TO MAKE HIS NEXT BUSI¬ GET MUSICALLY COOL WHEN HE 4. Boastfulness. NESS MOVE INTELLIGENTLY. Has the Art of the Piano Reached Its Zenith or COMES BACK. Perhaps this is to be the new creed of the Most musicians and teachers of music do lit¬ men who are coining back—a creed that may tle more than drift. They never try to steer THERE IS A SOCIAL ASPECT TO THIS Is It Capable of Further Development? turn some of our old-fashioned ideas of ethics their own careers progressively. Anything that WHICH WE TRUST MANY MUSICIANS upside down. In any event it is a good one foi comes along is good enough. WILL NOT PERMIT TO ESCAPE THEM. the musician to follow in the larger life of to¬ Just for your own good, stop long enough THE MUSICIAN’S SERVICE IS A PUB¬ A Historic Conference Conducted Through the Co-operation of a Group of the Foremost morrow. __ to analyze your own situation. Study the na¬ LIC ONE. HE IS A FACTOR IN THE tional conditions and the local conditions, so Pianists of the Day in the Interests of ETUDE Readers COMMUNITY, JUST AS IS THE CLERGY¬ “WHEN JOHNNY COMES MARCHING that you can set your course and steer straight. MAN, THE JURIST, THE HEALTH HOME,” GET IN LINE YOURSELF TO Develop initiative by venturing to do things HAROLD BAUER OSSIP GABRILOWITSCH RUDOLPH GANZ OFFICER. HE IS A PART OF THE CO-OPERATE WITH ALL THE AGEN¬ that you have hitherto thought yourself unable NECESSARY MACHINERY FOR THE PERCY GRAINGER JOSEF HOFMANN ERNEST HUTCHESON CIES FOR GOOD IN YOUR COMMUNITY to accomplish. Bring new musical interests to BETTERMENT OF THE COMMUNITY. ALBERTO JONAS ALEXANDER LAMBERT SIGISMUND STOJOWSKI THAT WILL ADMIT OF YOUR ASSIST¬ your community. Jealously guard the active In many communities the musicians 'have suf¬ ANCE. cooperation of your younger pupils in their fered themselves to “take a back seat” entirely DON’T SAYr: “WHAT AM I _C GET work. Keep them constantly informed upon unworthy of the art in which they are serving. OUT OF THIS?” An Editorial Preface what you are striving to do. issues—other artists not included in this issue being THE SICK SISTERS OF BOTH SEXES Your first consideration is to serve in every In march, 1918, The Etude invited a group of very The artists participating represent many of the most ABOVE ALL, STRESS THE GREAT distingui hed pianists (several of whom, during the brilliant, experienced and active minds in the field of included in previous and in later issues. WHO FOOL AWAY THEIR TIME AT imaginable way. That has been the glorious PART THAT MUSIC HAS PLAYED IN past few years, have given a part of their time at sincere pianistic study. The Etude is especially proud In the fi/st installment of this conference, published MUSIC ARE A DETRIMENT TO THE spirit of America in the great war, and one of least, to the practical problems of teaching the art of of the outcome of the conference for it is not over¬ HUMANITY’S CRUELKST STRUGGLE in the December, 1918, issue, the discussion revolved PROGRESS OF THE ART. the things which has helped to win. piano playing), to a private dinner held at Claridge’s stating the •facts to say that it. is of historical Signifi¬ around a remarkable statement from Mr. Percy AND HOW IT HAS AIDED IN OUR GLO¬ cance. An expert stenographer was present and took Music has been proven of such value in the Don’t think that business consists solely in Hotel, in New York City. One or two were good Grainger in which he outlined some very extraordinary copious notes, from which the following was prepared. wearing calluses on your nose upon the grind- RIOUS TRIUMPH, enough, though prevented by absence from the city lines along which the keyboard instruments of the great crisis that we think that musicians are from accepting the invitation, to send in their opinions It is impossible to present all the views given in this future might proceed. upon the above subject after the dinner. one issue, and the discussion will be continued in other

Put Sixty Minutes Into Your Hour SIGISMUND STOJOWSKI EDITOR OF THE ETUDE also invented an action (cradle keys) which I have played By William Benbow I do not like to take a pessimistic attitude, but it Let us suppose that an instrument with an elec¬ upon, and which reduces the resistance of the keys, and makes repetition technic an enjoyable pastime. The seems to me that the inventor of things that are really time. First, finger control. Do obediently and con¬ first and last notes of the run, counting “one” on the tric action were to be placed on the market—an A practice hour is a study hour, and a student will singing tone also becomes more sensitive and varied. worth while in the musical world is confronted by scientiously what your teacher prescribes as “setting¬ first note and “two” on the last note. Count slowly action so feathery light that the mere sensation of never get the full benefit of that hour until he learns touch would produce a beautiful tone. Could such The action is so light that one hardly feels any effort greater difficulties than ever before. Once it was a up” and stretching exercises, finger strokes, relaxation at first, then twice as quickly, then four times as matter of private initiative and capital—now it is a to work at his music just as he does his algebra. an instrument, in which the matter of weight had in playing. But as I have said, he refused to give the helps, etc. Two minutes of this will tone up the whole quickly. fierce struggle with peculiar economic conditions all When a student sets himself to an algebra lesson, been removed, doing away with even the effort of monopoly of his invention to any one manufacturer machinery. ' Finally combine all these six points in one finished over the world. Democracy has brought powerful or¬ he has something definite in his intention. pressing down the piano keys—could such an instru¬ and none seemed willing to introduce it in large meas¬ What is the definite problem in the music period? 2. Proper fingering is simply finding the easiest product. ganization conservatism. ment, if conceivable, lead to a higher technical ure without such a monopoly. Busoni was very much Always the goal is to make music. And almost always arrangement of the fingers in groups to get the right If you give two minutes each to the setting-up exer¬ achievement? interested in both inventions, keyboard and action. As there is a printed representation of the intended musi¬ effect. This dread bugaboo of fingering will be robbed cises, the six points and the final combination, sixteen EDITOR OF THE ETUDE of its terror if you will recognize it as mostly a mental RUDOLPH GANZ for myself, I can say that I succeeded in playing scales cal effect. It stands to reason that the student must minutes of your hour have gone. This is highly interesting in view of the fact that operation of remembering where to put a crossing or I think that all the gentlemen are agreed that, con¬ and arpeggios, etc., in ■ a very ideal manner. Both understand what the intended effect is. He must un¬ But this scale run is only a small part of the piece. we have been continually confronted with people who a shifting, and which finger does it. So do not play What is its relation to the whole? Is it a small sub¬ trary to some wrongly conceived opinion, the virtu¬ derstand what the notes, signs and words mean. If Clutsam inventions are legitimate artistic improve¬ have an ambition to contrive new systems of nota¬ it, but simply look at the scale run, note the place of oso pianist always endeavors to get the lightest and there is any one of these that he does not under¬ ordinate effect? Does it seem to you to lead to a ments in the mechanism of the piano, just as the addi¬ tion. Some of these systems possess points of merit the crossing, what note, what finger, how many groups easiest possible action. Just why some of those who stand, he must look it up, just as he would a new climax? Do you think it is a part of the main theme, tion of such a pedal as the ordinary damper pedal was, and the designers, if one may call them that, are most of fingers for the ten notes. are not informed have an idea that the pianist who Latin word in his vocabulary. Even if his teacher or (s it in a transition part, or in a cadenza? Study because it enables the performer to do things that insistent upon pushing them in every possible manner. 3. Smooth crossings and shiftings. Practice the note plays all the year around before large audiences pre¬ has played the composition for him, he will retain the form of the whole piece, see if this scale run is otherwise cannot be achieved. It does not alter the They do not seem to realize that the publishers of the before a crossing and the note after it backward and fers a stiff, hard action, goodness knows! I do not but a very hazy general impression of the effect. used in any other part of the piece; if so, is it the spirit of the instrument, as Mr. Lambert feared it world have millions of dollars invested in publica¬ forward with the proper fingers in order to get an even same key? know of one pianist who favors a hard action. The The more keenly he feels the effect and wants to would, hut does point to such an improvement as the tions and plates that would virtually be thrown away "grade-crossing.” Contract and expand at the shiftings physical lahor of playing program after program is reproduce it, the more keenly he will feel his technical Again, what is the meaning of the run? Does it if some totally different form of notation were adopted. as smoothly as the, feet glide in graceful dancing. very great and any undue resistance offered by the editor of The Etude suggests. Owing to the depletion deficiencies. leave a feeling of expectancy for something to follow This is the obstacle which stands in the way of every 4. Crescendo. Again, think out your plan. Is it to keyboard is unnecessary. I have always been on the of supplies caused by the great war and to the rigid Let us suppose you are a student who feels these it to make complete sense? Does it sound like the end radical reform of this kind and the publishers can incapacities. Your ear, eye, arm, hand, finger, and foot be a swell from pp to mf, or from mf to ff? Do you of a part of the piece? Play the accompanying chords lookout for improvements that would lessen the efforts selling conditions self-imposed by the inventor, it may not see that it will take attentive listening and the a. the keyboard and attain artistic results with more ease. be some decades before such an instrument can pos¬ hardly be expected-to impoverish themselves to make must be trained to certain habits. That is the object with the left hand. Does that change the meaning at experiments which the public might not adopt. of all exercises and studies. Everyone of these studies even transference of weight to make those ten tones all? You know—or do you know?—that some chords There should be little mechanical resistance between sibly be upon the market in sufficient quantity to affect march up steadily to a swell in either case? the soul of the player and the vibrhting wires. Habit the art of piano playing in any way—but I am sure and exercises has something definite in view. Now you in the accompaniment would make it sound incomplete, ALBERTO JONAS must know what to do and why you are doing it, if 5. Staccato. Patient adjustment of the right weight and other chords would give it a feeling of definite and long practice make the player lose consciousness of that it is within the scope of our conference to discuss your hour is to have sixty minutes. and finger action and wrist impulse to secure a crisp satisfaction, like the last phrase or line in a verse of the mechanical side of the instrument. He thinks only such possibilities. To shut our ears to them would I realize just what this means. When I was teaching Let us suppose you are studying a piece in which detachment of tones. Then still more careful listening poptry. Analyze the chords. Are they primary chords? of musical effects, the mechanical achievements having surely be retrogressive. in Berlin I ma,de application for a patent in Germany you see a scale passage of ten notes ascending. Look to add the crescendo. Is the last chord the tonic chord? become second nature. and in the United States for a different form of nota¬ carefully and see the crescendo mark under it and the 6. Speed. Now, and not before, think of the velocity. By this time twenty-five minutes have gone. N°w Therefore, I was very much interested in the curved ALBERTO JONAS tion. Such a notation as I have in mind would do Practice in two ways. First, take three notes in a keyboard invented by an Australian, Fred Clutsam. away with flats, sharps, naturals, clefs and was so de¬ dots above the notes, and then observe that the tempo shut your copy, and transpose your run in other keys. I fully agree with Mr. Ganz’s eulogistic mention of group to one beat; then four notes to the same beat; I was the first one to demonstrate it in public some signed that one might change from the old system to is Allegro. See what all this involves: Then add the accompaniment. the Clutsam curved keyboard. I was requested, in then six; then eight; then ten. Second. Accent the the new with very slight difficulty. I realize, however, 1. Muscular control. Use ten minutes for reading new or strange music years ago in Europe. Unfortunately, the invention Berlin, by the inventor and some of his adherents and as has been said, that this would, if adopted, render 2. Proper fingering. at sight to train eye and mind to grasp different did not impress the piano manufacturers as much as supporters, to examine the Clutsam keyboard. I was useless millions of dollars of capital and therefore 3. Smooth crossings and shiftings. musical ideas and effects in groups and as units. F°r the pianists, for obvious, reasons. highly pleased with the result and unhesitatingly have stands a comparatively small chance of ever being in¬ 4. Proper application of weight from finger to finger the rest, review studies and pieces, playing from mem¬ As the inventor has refused to sell his patents to any WHAT HAS HELPED ME MOST IN MY endorsed it. In the handsomely printed booklet which troduced. However, even if a patent were not granted, to produce the crescendo. ory, always listening to the effects, and repeating the one manufacturer exclusively, and since the whole body CAREER Mr. Clutsam (who, by the way, is an Australian) pub¬ I shall some day make the idea public. 5. Proper use of the finger to get the staccato. hard spots with the same patient attention to details of piano manufacturers have not taken up his patents, they are not upon the market except in London. I lished at that time in Berlin my name was one of the A piano with an exceptionally light action would 6. Speed of motion. Ten of the most successful artists of the hour as in the first half-hour’s work. feel that I may speak of them without inveighing five piano virtuosos who endorsed the new invention; obviously be a treasure to those who have to teach Now comes the economy of time, temper, and effort will tell their own secrets in the February ETUDE. One secret may prove priceless to you. One thing at a time. against The Etude’s rules of not exploiting proprie¬ the other four were Leschetizky, Dohnanyi, Rudolph children. It would be Just as welcome as the modern in practicing this five-angled effect. You will sustain Plan your work. tary manufactures in its reading columns. Clutsam has Ganz, and, if I remember right, Ferruccio Busoni. electric and pneumatic action of the organ is after the your interest in this study by taking one angle at a Work your plan. TEE ETUDE JANUARY 1919 Page IS THE ETUDE . Page 12 JANUARY 1919 Broken Chords Disguised by Changing selves to play by instinct. They achieved by an instrument of comparative simplicity HAT stage fright, or le trac, -— —- -—^ — — gj ' ponderous tracker actions of the olden days when it T ■ ' should form the habit of seeing in without any eccentric features. It must be remem¬ Notes as the French term it, is a took prodigious strength to play certain successions of _ the mind’s eye each note, each bar, bered that the harpsichord had a number of appliances very real and troublesome 'chords. However, as has been said, the world moves Most of our readers are already familiar with the each page. which the piano has never included, yet the harpsi¬ way chords appear in broken form, or as arpeggios; thing cannot be denied—one slowly and there are certain economic conditions stand¬ chord is a thing of the past, while the piano still This is not an original idea. Was ing in the way of all inventive progress. However, I but for convenience of reference, we give a few ex¬ may know a composition backward, it not Letschetizky who exacted lives. It is the simplicity of the piano which makes so to speak, and yet, at sight of the feel certain that if the piano as an instrument is to it what it is. And its tremendous historical role m amples : that his pupils be able to execute audience, be too paralyzed to remem¬ Are You a Victim of advance it will be along some line that does not musical literature makes it seem desirable, that it from memory any measure he might change what has been called this evening “the spirit should essentially remain what it is—without preju¬ ber a note. It is, however, a failing name in the compositions they stud¬ of the piano.” That is, the instrument will remain a dice to possible improvements. that can be overcome. No matter Stage Fright? ied with him? Quite a test that!—to piano, although some part of it has been improved or I hope that I am not ultra conservative, but I find how ill at ease on the concert plat¬ be ordered to play the bass or treble refined. that I can, in nearly all instances, dispense with even form you may be, there is no need of the third measure of the fourth This, indeed, is the chief reason why all these new so universally adopted a feature as the middle or for despair, for, judging by my own By H. TIMERMAN bar of the tenth or fifth or seventh musical notations have failed. The inventors brought “sostenuto” pedal. I rarely use this pedal. It does experience, steady nerves can be ac¬ Ill page, as the case might be. new signs, new symbols and it all looked like Greek to the not seem to me that it has kept its promise. As quired. To-day, in spite of the fact uninitiated. Some ten years ago Ferruccio Busoni pub¬ compared! with our wonderful damper-pedal that to play for anyone was formerly Did you ever go before an audience with your How to Ward Off Nervousness lished a new musical notation, but it failed like all the the most unique feature of the piano, that “ray of a distinctly disagreeable task, I One peculiar effect of nervous¬ others for the simple reason that the inventor did not moonlight,” as Dr. Brosius calls it, although it can actually enjoy facing an audience. teeth and your knees playing a castanet obbli¬ ness is that it often causes lack of glitter with all the lines of the rainbow—it seems both take into account the millions of dollars’ worth of As is evident, each one of these arpeggio-forms gato to every step? If you have you will find co-ordination, prevents the muscles soulless and unwieldy. How to Overcome Stage Fright music invested in the music published at present, it merely contains the same letters as the chords in the from responding when called upon. being obviously impossible to destroy the priceless both entertainment and profiit in this article. first two measures of the above example. Keeping As a first step, analyze your nerv¬ Bill Should you be troubled by this ten¬ treasures of printed music which mankind possesses at ERNEST HUTCHESON this in mind, let us see how they will be affected by ousness. Determine exactly why you present. An ideal new musical notation would be one dency, strive to overcome it by I do not agree with Mr. Stojowski about the middle the use of changing notes. are panic-stricken at thought of play¬ breathing deeply, rhythmically, while that would do away with all the sharps, double sharps, pedal; I feel that it opens up vast possibilities and I V" \: „ ' ' "" ■ ,.. ' ‘, ' ■' ' ing before a crowd. Perhaps you are awaiting your summons to the stage. flats, double flats, naturals, with all the accidentals in hardly think any, pianist has explored those possibil¬ Changing Notes Explained inclined to be over-ambitious—are ' & Deep breathing is also a great the signature, and with all the clefs. Yet things should ities as yet. I am sure that I have not. In some pas¬ A changing note is a note foreign to the harmony given to undertaking works so diffi¬ be so managed that anyone who has learned the old sages I find that one can do some very extraordinary help in carrying you through any (our present) musical notation would be able to read which presently changes to a harmony-note. Chang¬ cult that you are barely able to get difficult passage during the piece. Sway your shoul¬ things with it. through them. If you are, then the principal reason that are to be dreaded by the sufferer from stage the new musical notation at sight, without one word ing notes below their respective harmony notes are ders, take a promenade, do anything that occurs to you for your nervousness is discovered. Many a musician fright. of explanation. This I have accomplished. I have SIGISMUND STOJOWSKI almost invariably a semitone below; changing notes as helpful, but keep control of your muscles. Rigidity attributes to stage fright what, in realty, is nothing but As you step out on the platform and face the audi¬ applied for patent for my new musical notation and I Yet, we must not forget that the marvelous playing above their respective harmony notes generally follow —of the mind, as well as the body—is the public per¬ the rule of whatever scale they may belong to. (For a sub-conscious dread of breaking down or doing badly. ence you will find this mental picture of the opening hope that in a not distant future I may give the same of Chopin, Liszt and Rubinstein was accomplished former’s worst enemy, and in order to counteract this this reason they have fewer accidentals.) Now sup¬ measures a veritable life-line—something to cling to, to the musical world. without it. In fact, Liszt, endowed with a keenly pro¬ He is far less disturbed by his listeners than by the dif¬ numbness, when, finally, you find yourself on the plat¬ pose we take the broken chords from Ex. d. and ficult concerto or program he has undertaken to execute, and the saving of many a desperate situation. For a gressive spirit, enthusiastically welcomed the new de¬ form, smile—no matter how petrified with fear you ERNEST HUTCHESON place a changing note below each note; we have then— but, failing to recognize the cause of his perturbed good start is all-important. Once safely launched in vice—but, many decades after, Mr. Paderewski achieves happen to be nor how much you may wish yourself a state of mind, he takes no steps to prevent its recur¬ good form the most critical moment is past. Self- That is just the point. I feel that I have been the most wizardly pedal-effects entirely without itl thousand miles away; there is something about the mere all through much of this discussion because of my rence. confidence will come to your aid as you play and if, as act of smiling that seems to induce a calmer state of experience with the Janko keyboard. This keyboard Do not make the same mistake. Restrict your pro¬ I have already urged, your program is not too difficult, mind. Furthermore, not only does it help one mentally had six rows of keys ascending like steps, something This conference will be continued in grams so that you can know absolutely that they con¬ the rest will prove smooth sailing. Reassured by the and physically, but it also tends to bring about the close like the manuals of an organ. The first, third and the February ETUDE with a discussion Or, suppose we use changing notes from above, we tain nothing you need dread; the certainty that one is fact that your opening passages sounded so well, the would get something like this— personal “rapport” between soloist and audience which fifth rows were exactly alike, as were the second, of the art of playing the piano. technically master of a composition gives self-assur¬ chances are that you may even begin to enjoy yourself. fourth and sixth. Successive keys on the same row ance and confidence. Choose for your selections pieces But remember to concentrate on the final measures! is so necessary to success. were a whole tone apart. Indeed, the series of keys so well within your capacity that you will be free to The end of a piece is apt to prove tricky, especially Above all, do not begin playing until thoroughly in on each row formed what we now call the whole- concentrate entirely upon interpretation—and upon toned scale. On this keyboard the fingering of all for those whose memories are none too good. Relief command of yourself. If need be, fabricate some ex¬ Eye Strain and Mind Wandering keeping your head. cuse for delay. For instance, if you chance to be a diatonic scales was the same, and the chromatic scale Such a thing as two changing notes, one below, one at having successfully reached the concluding measure was accomplished by taking notes alternately on any two violinist, continue to “tune up” until quite calm; the By Nef. Niplog above, is not impossible, viz.: Be Persistent often causes one to relax into indifference—sometimes adjoining rows. Since an interval of a tenth was the Until the day comes when an audience no longer with disastrous results. audience won’t object to watching you fuss with your same width as an octave on the ordinary keyboard it Many pupils who are wrongly abused by their teach¬ bothers you force yourself to play constantly for instrument. To the lay mind a fiddle is a mysterious may he seen that large hands would have little difficulty crowds. Never pass by an opportunity to take part in A Dependable Memory and absorbing object, and so long as you do not appear in spanning twelfths. When the Janko keyboard first ers for making mistakes cannot hope to correct those an entertainment of any sort, for nothing will so effec¬ frightened or sullen your movements will be followed appeared it was enthusiastically introduced as some¬ errors without the help of an optician or an oculist. Now and then one meets individuals with naturally Weber uses this very device, coupled with a certain thing that was going to revolutionize all pianoforte The teacher may talk in vain for hours about mind tually cure nervousness as repeated public appearances. retentive memories. In Brussels it was told of Ysaye with interest. Even should the crowd commence to rhythmic piquancy, in his once-popular Rondo bril¬ playing. It had some mechanical defects at first, but wandering, carelessness or failure to practice, but this But treat your public playing seriously; never.allow it that, at the age of sixteeen, he was able, after a mere show signs of restlessness do not become flustered and will not repair a crippled vision. liant— these were remedied after a time. I tested it in vari¬ to become a hit-or-miss affair. glance, to play from beginning to end, without notes, plunge off at random. Take your own time. Begin When little Harry plays his piece on lesson day his ous ways myself, and it was easy to learn and do all Each time you play for even a small group of peo¬ deliberately and coolly, your mind not on your auditors, earnest efforts are likely to be disturbed by a kind of a four or five-measure piece of music totally unfamiliar sorts of remarkable things with it. Indeed, I became ple, jot down afterwards exactly what kind of practice pedagogical shrapnel like this: to him. But, as a general thing, such mental gifts are but on what you yourself are doing—on the musical so enthusiastic about it that I approached one of the you did beforehand, the amount of practice, what rest “Think!” rare, and most of us find it necessary to train the brain effects you are trying for—and you will find yourself foremost piano manufacturers of America and Europe you took, etc., stating conscientiously whether the effect and endeavored to have them introduce it. I came up “Don’t do that!” Looking steadfastly at this until, to borrow Carlyle’s as well as the fingers. growing more and more master of the situation. “How could you play that note wrong when it stands was good or bad. against the old economic problem right away. No mat¬ striking simile, its “clothes become transparent,” we People with poor memories should never allow them- On the day of a concert be careful to avoid over¬ ter how good the invention was, the piano manufactur¬ there as big as a house!” see it is nothing more or less than the broken chords— The Physical Side of Music "Do listen!” doing. Use your brain rather than your muscles and ers were unwilling to discard millions of dollars of Before leaving the subject of stage fright I_ should investment to try some radical departure which the “How many times have I told you to play that exact results from each minute of work, for if you tire like to touch on the question of physical strength—a geheral public might not adopt after ft had been put sharp ?” yourself out your performance will suffer. upon the market. The keyboard called for a more “Pay attention!” If you are a singer or violinist endeavor to practice avoid stage fright when matter which is a great deal more closely allied to “B-r-r-r-r-r-r-r! You surely knew that was wrong!” rpO complicated construction and more ivory than Practical Hint with the accompanist a few hours before you are to Art than is generally understood. Studying abroad “Curve your fingers! Don’t let your wrist drop! * going “over the top” keep is required by the present period keyboard. This, play or sing. The rehearsal will prove of mutual bene¬ ■ at the same time as myself was a young vegetarian, Don’t look at the keys! Tut-tut-tut-tut. My! Oh, Theer are two ways to attain real familiarity with together with the fact that all the musicians who played these forms. First, when they occur, endeavor to an¬ fit, for nothing is more reassuring to both soloist and on at different recitals, etc,, the son of a famous American illustrator. He pos¬ piano and all students would, for a generation, be called dear, it’s too bad!” ad nauseum. The shrapnel may kill Harry’s musical ambition and alyze them and see what chords they reduce themselves accompanist alike than the remembrance of having done until you conquer fear. sessed an astounding technique—the works of Pagin- upon to learn two different kinds of keyboard, as well to. Second, practice taking plain chords, and after well earlier in the day. Or, supposing that things go ini held no terrors for him—but so lacking was he in as the fact that, in order to realize any artistic bene¬ possibly wreck the teacher’s nerves, but Harry, with a bad case of astigmatism or myopia, will never advance putting them in broken-chord form, embellish them badly at rehearsal, what a blessing to know just which vitality that there was no telling when he would sud¬ fits from the Janko keyboard a new school of piano¬ Mentally visualize the opening with changin notes in various ways, using your own parts need attention! By concentrating, wonders can forte composition would have to be created, made one jot until some capable eye doctor fixes him up. denly break down. Given a steady diet of three inch original fancy. This will be found an exercise as in¬ be accomplished in fifteen minutes or half an hour. It measures of your piece. the venture a failure. The Janko created a great stir If you do not discover the defect—some other teacher beefsteaks he might well have become a great artist, teresting as it is beneficial. is a good idea to rehearse a page at a time, as the more when it was presented to the world, many conserva¬ but owing to his low physical vitality he never, so far thoroughly the pianist is conversant with the soloist’s Cultivate a dependable memory. tories introduced them, and it had many disciples, but as I am aware, attained any great success in music, it is hardly remembered by anyone at this time. It interpretation the better will be the effect. Keep the mind, body and nerves in spite of assiduous application. has become one of the curiosities of musical his¬ In the event of not being able to secure a final re¬ tory, as probably every other radical and iconoclastic What Octave Studies Should Follow Those of Czerny? hearsal, play or sing your selections through with the sufficiently rested. Only call to mind the greatest performers in the invention or system will become. This has served to metronome just before leaving home. You will find it music world—Schumann-Heink, Ysaye, Bauer, Go- preserve the integrity of the piano and musicians Breathe deeply before going on dowsky, to name but a few. Are they not all physical By T. L. Rickaby a comparatively easy matter, when the crucial moment need have little fear that the wonderful art which arrives, to repeat once more what only a short while the stage. giants, well padded with flesh and well fed in appear¬ has grown up around the instrument will not survive before you did so many times. Do not overdo this ance? Music imposes a fearful strain on the nervous all of its benefactors as well as its detractors. All the octave studies in existence will do a pupil getting octave practice, the pupil will, at the same Think of your work and forget no good if the principles underlying octave playing are time, be adding to his repertoire. Any experienced final practice, however, or it will defeat its own end. system and, consequently, the physique should be kept SIGISMUND STOJOWSKI not understood and applied. When they are, then no teacher can name dozens of. such pieces. Among the It is most important to avoid weariness before a public the audience. up to. a fine pitch of perfection. The artist should eat further octave studies need to be taken after Czerny first that occur to us are Beethoven’s C major Sonata, performance. nourishing food at regular and proper times, and • Now we are reaching the proper plane upon which —if Czerny is taken at all, for octave studies are not Op. 2, No. _j (especially the first and last movements), Mental Visualization Don’t worry if your first appear¬ to consider this matter. We should first consider the avoid stimulants of every kind. The excitement of indispensable. A good octave technic may be acquired and^ almost any of the Liszt Rhapsodies. Remember, great accomplishments, the wonderful literature of Being obliged to listen to the numbers preceding one’s ance gives you a touch of palsy. the occasion will key you up' sufficiently without arti¬ without them. Let a pupil study a thorough and however, that music in which octaves predominate is masterpieces for the pianoforte which has grown up own on the program is apt to be distractingly .confus¬ ficial stimulus, and anything that tends to unnerve you sane octave system like Dr. Mason’s-, playing scales all usually loud, rapid and boisterous. In the best music Everybody has it the first time. around the instrument as we know it—the instrument ing, and on the way to the hall and while awaiting —that which gives the greatest pleasure and lasts or rob you of the self-command which is so necessary of Beethoven, Chopin and Liszt. No other instrument and exercises in octaves. your turn to play or sing, mentally visualize the open¬ Then study pieces with octaves in them and, while longest—these strenuous qualities are not present. if one is to dominate the audience, should be shunned. has called forth such a literature. It has been ing bars of your morceaux; it is the first two measures JANUARY 1919 Page 15 THE ETUDE THE ETUDE Page 1J/. JANUARY 1919 That Same Mistake Deciphering Secrets of the Printed Page By Abbie Llewellyn Snoddy By Philip Gordon, A.M. What teacher has not, at some time, heard a pupil What is there on a page of music besides—to say ‘Oh, I always make that same mistake, don’t Does Poverty Help Musical Genius? quote a friend of the author’s—“notes artistically T It seems to be a perennial, never-fading, ever- thrown together?” To a great many students there recurring remark, like passing the time of day or com¬ is nothing more. To a goodly number of students there menting on the weather, but it should be greeted w.th By HENRY T. FINCK is nothing more than fortes and pianos and crescendos. T deal less patience. It is always delivered with a Only a minority know of such things as voices and cheerful confidingness, as if it were a pleasant little voice leading, accented and unaccented measures, de¬ joke which the teacher should enjoy as much as the The medieval monks had a Latin maxim, "Plenus How Vienna Treated Haydn, Mozart and Schubert when he died, his worldly possessions were valued at velopment of motifs, and so forth. Those fortunate pupil does-and, saddest of all, it is a refrain which is venter, non studet libenter”—in English, “When the Mozart was buried in a pauper’s grave in Vienna, about twelve dollars. ones will learn nothing new from what we have to carolled forth not alone by the eyeless inattentive stomach is full, brain-work is irksome.” with several other corpses. The few friends who in¬ One thing must-be borne in mind. While the goad say here; it is hoped, however, that this' little dis¬ pupil (from whom one expects little else), but often We all know how true that is; how disinclined we tended to accompany the coffin stayed at home because of poverty doubtless accelerated his productivity, it was not the main cause of it. He could no more help cussion will help the less learned to appreciate some by the good, thoughtful one. are to work in the afternoon if we have eaten a hearty it rained, and to this day no one knows where is the of the beauties hidden in the printed page. “I alwavs make that same mistake” is the outward lunch. I am convinced that not only could the quality grave of the immortal composer of “Don Giovanni,” composing than an artesian well can help flowing. We choose at random a book from our library. It and visible expression of an inward and lamentable and quantity of our annual mind output be improved “Figaro” and the “Magic Flute.” Neither in his case nor in Mozart’s can it be said that happens to be Mendelssohn’s Songs Without Words, a lack of care—a proof that the pupil “plays through” his forty per cent., but our enjoyment of life—especially Pitiable in the extreme is the story of Mozart’s short poverty was a blessing. Had they had more money, work which every student knows. Let us examine a study or piece without any particular goal in view, and in the afternoon—doubled if we cut out heavy noon life. The goad of poverty was nearly always present, they might have lived many years longer. few measures of the first Song (Op. 19, No. 1). without an earnest endeavor to make each playing meals and ate only fruit, that requires no laborious for the products of his genius were shamefully under¬ Haydn fared better than Mozart and Schubert. His better than the last. At the first symptoms of the and prolonged digestion, but is absorbed at once, thus paid, while disgraceful cabals by mediocrities cheated parents, to be sure, were also poor, and when he had “same mistake” malady, the pupil should be trained, or. saving energy for the brain. America is the paradise him of the glory and cash due him. In winter he could to begin, as a mere boy, to support himself by teach¬ if studying alone, should train himself to carefully of fruit-eaters. Why not try this plan? not afford to buy fuel, except a few large pieces of ing, he lived in a garret and sang and composed to his heart’s content, saying he wouldn’t change places with note each mistake and to look ahead for that mistake When we look back to the beginnings of men who wood, which he and his wife used to carry up and a king. Then came a great stroke of luck—his en¬ a- as for a danger signal when playing through the sec¬ became famous or rich, do we not generally find that down stairs to keep warm. He might have lived many fib»» ^ 1 gagement by Prince Esterhazy as conductor of his ond time. Wrong notes and painful fumblings soon they had the goad of poverty to stimulate their ambi¬ years longer had his poverty not compelled him to private orchestra. This enabled him to try over his new r vanish before slow, painstaking practice. tion and efforts—that they did not often indulge in a compose to order, when he was ill, a Requiem, which If you are a “same mistake” pupil, make up your “plenus venter,” because they had nothing to fill it up became the chant of his own death. compositions as soon as completed, make the neces¬ mind to-day to uproot that particular phrase from with? Schubert died at the pitiably premature age of sary changes, and thus become the first great symphon- your vocabulary, and, in its place, adopt the motto, In the industrial world, two notable instances are the thirty-one because he did not have the twenty or thirty ist. The Viennese, to be sure, did not fully accept multi-millionaires, Andrew Carnegie and Charles M. It is what is technically called a “passing note,” and “Never make the same mistake twice!” dollars it would have cost him to take a summer vaca¬ him as such until after London had put on him its Schwab. One began as a messenger boy in a telegraph its use is clearly enough defined in the name. Men¬ Concentrate earnestly on a right performance—not tion. He remained in the city, moved to a cheaper stamp of approval. office; the other as a common laborer. Having had delssohn has simply elided the'/#. Now every student on the fact that you have previously made a mistake room in a new .street, where the drainage was bad, and If a note is F sharp and you have wrongly played F, the pleasure of lunching and dining with Mr. Schwab, Beethoven, Schumann and Wagner of classical style knows that a passing note is a deli¬ succumbed to typhoid fever. cate matter. It is quite important, therefore, that this do not think “here is where I always play F, and it’s I can attest that even now that he has “arrived,” he His father was a schoolmaster, with fourteen A search of the biographies of the great composers, e should be connected witlrthe dtt which follows. This wrong,” but “here is where I must play F sharp, and does not eat nearly as much as he could afford to! players, singers aud teachers shows that.the parents of children to support on a princely income of $175 a year! dt, incidentally, being the leading-tone of the key, that’s right.” What would happen if he did? most of them were poor and that they had to struggle Most of the great music masters felt the goad of looks forward to the e following it. Fromjdie^cradle to the .grave, poverty was the com- against adverse conditions in the days of their youth. childhood poverty. A conspicuous exception was Felix _j of tfte.greatesk'of all song-writers; but though Beethoven and Brahms, who are counted among the Mendelssohn, whose parents were so wealthy that they Holding Notes e boy oftenVent/fvungry and cold, this did not pre- fortunate composers, were no exception. At Bonn, The marks of phrasing and of expression are in¬ could afford to own a ten-acre lot near the Potsdam Those readers who are acquainted with the prin¬ The Easiest Way to Find the Name of t him from writing such immortal mastersongs as where he spent his early youth, Beethoven had to help serted by the present author. Students who have Gate in Berlin, on the edge of Frederick the Great’s ciples of orchestration will remember that the horns The ErIking arid Rostlose Liebe when he was only along by playing in a band and by teaching; and the studied harmony, or even the simple matter of cadences, a Key Thiergarten, or deer park. Here were fine trees, ga~ are often given long holding notes, thus lending a eighteen. “Y/u know from experience," he wrote to teaching was continued in Vienna for years. No doubt will understand at least why the passage is phrased dens and summer houses, including one which had/; certain stability to the harmonic structure. The hold¬ poverty spurred him to early efforts; but his genius as it is. hall seating several hundred persons. It stood on = sorts of musical drudgery, often without bd L- .. the signature is the leading note to the key. Take a hadn’t the faintest idea that he would come piece written in four sharps—the last sharp is D sharp to be considered the greatest musical thinker knowing where to get bread for his next meal. that ever lived. It came to such a pass that more than once The student will now see why this passage is phrased Now one-half step above that sharp is E—and this is Two points should be noted here: First, the pro¬ the keynote. Take the key of five sharps: What is He had a family of twenty children to bring his wife begged in the streets. Poverty did as it is. up on an income of a few hundred dollars a We now come to the accompaniment. This is a gression of the bass down the diatonic scale; second, the last sharp added? A sharp. Well, then, what is him much more harm than good. The years the octaves between the bass and the voice above it. the note directly above it? B. This is the key—the year. He was too poor to have his works of starvation in Paris so impaired his stomach very significant factor in music. Most students rec¬ properly performed, or to get them printed. The progression of this upper voice shows that it is key of B. that for years his creative power was greatly ognize the importance of the accompaniment, but they It is pathetic to read how, as an old man, he make no attempt to analyze it. It is simply a mass of not a mere doubling of the bass, and it should not be Mr. Hilton-Turvey used this rule in teaching. It diminished; often he could compose only an played as forcibly as the bass, else it will distort the is surprising that it has not been exploited for tried to save some of his great compositions color to be played somewhat more softly than the from probable destruction by printing them hour or two a day. melody. Every good accompaniment is really a very equilibrium and obscure the scale in the lowest voice. students who have trouble remembering the other A case which has much in common in this is the more difficult ways. with his own hands, and how he was inter¬ clearly wrought piece of mosaic. The design is often rupted in this work by a growing weakness of Paris and the Prix de Rome first movement of Beethoven’s sonata Op. 27, No. 2. \ou will find that with thU simple rule firmly fixed disguised, as in our example from Mendelssohn, but eyesight which at last ended in complete blind¬ The Germans and Austrians by no means Here the first note of the accompanying figure is in in your mind, you will never have any difficulty in a little study will make it quite clear. In our extract ness. When he was buried, the grave was not had a monopoly in poverty-stricken geniuses, octaves with the melody. quickly determining the key, no matter how many the accompaniment—omitting the bass, is in four parts marked, and it was only by a bit of detective at least in their early days. The best way to sharps or flats are bristling in the signature. or voices, each having its own melodic progression. work, worthy of Sherlock Holmes, that his skull Beethoven's Humble Origin. get a bird’s-eye view of the situation is to look Aeschylus says in Agamemnon “Learning is ever in Remember: To make this clear we compress the arpeggios into was found, a few decades ago. His widow died at a list of the composers who were awarded chords Every note in the original is represented by a the freshness of its youth,—even for the old.” The Flats: next to the last flat is the keynote. in the poor-house. Thus did the people of that the Grand Prix de Rome. Once a year an ex¬ musician who keeps constantly learning has the secret note in our outline. The bass is added in small notes Sharps: the last sharp is the seventh degree of day in Germany honor their men of genius. amination is held at the Paris Conservatoire so as to make complete harmony. of rejuvenation. the scale—the leading note to the key. THE ETUDE THE ETUDE JANUARY 1919 Page 17

Page 16 JANUARY 1919 drance; he did not need it as a goad, for he was nat¬ enabled Chopin to create a new era in music for the and the winner of the first prize is awarded the equiva¬ urally an enthusiastic worker. piano. He could not help composing—even on his lent of $800 a year, for three years, to enable him to The list might be greatly extended, but I must limit deathbed, when he wrote that mournful mazurka. benza continue his musical studies in Rome. Nearly all the myself to one more case, of particular interest; the case great' French composers were thus helped financially, fine, it is marked; but his end had come. of a man who, before Verdi, was the head of the Ital¬ as winners of the Roman Prize; among them Herold, Tschaikowsky, when twenty-three years old, “began ian operatic school: Rossini. He gave up composing Ambroise Thomas, Halevy, Gounod, Berlioz, Bizet, De¬ to face a life of poverty for the sake of his art. ’ Before just when his genius was unfolding its best powers, and bussy, and most of them needed this help badly. A that he had been a clerk in the Ministry of Justice; he gave it up simply and confessedly because he was few details may suffice. reverses suffered, by his father threw him on his_own too lazy to work after he had become wealthy. Under Berlioz’s father wanted him to be a doctor and when resources. Rubinstein helped him to find pupils, and the goad of poverty what masterworks he might have Conducting a Small Conservatory he stubbornly persevered in his desire to become a he earned $25 a month. Later he got an appointment written in those four decades! , , When I was a student a Harvard I attended a course musician, his allowance was stopped and his life-long as teacher at the Moscow Conservatory which he held Two Aspects by Men of Experience of lectures by James Russell Lowell on Spanish litera¬ struggles with poverty began. At one time he actually eleven years. It was a life of drudgery from which he ture. I remember how amused we all were when he It. VI sang in a theater chorus. (Wagner, by the way, tried was glad to be released through the generosity of a read—from Cervantes, I believe—a maxim to the effect to do the same thing, but he was rejected, on the wealthy woman, named von Meek, who gave him 6,000 ground that his voice wasn’t good enough !) When Ber¬ that “it is no disgrace to be poor, but it is devilish rubles a year to enable him to devote himself entirely class often makes a sudden and noteworthy increase lioz married Henrietta Smithson, he had about a hun¬ inconvenient.” much greater care in the matter of heating, lighting and to creative work. To him, poverty had been a hin- Problems of the Small Conservatory soon after the new arrangement goes into force! Ob¬ dred francs in his pocket. For years he supported him¬ general upkeep. [Editob's Note.—The writer of this article, who prefers viously, however, this means no profit to the conserva¬ self by writing musical criticisms, largely about frivo¬ to remain anonymous, has had exceptional opportunities for Advertising, on a systematic and effectual scale, is a lous, ephemeral productions he despised. Was it in Unaccompanied Melody in Pianoforte Music becoming acquainted with the matter here discussed, from very heavy expense, although it should come to less tory, in either case. more than one point of view, having taught in three con¬ than that of the advertising of the several teachers done spite of his poverty or because of it that ideas came to violinist or cellist. It goes without saying that the servatories connected with colleges and in one private con¬ servatory, afterward conducting a conservatory himself^for The Teacher Who Proves Disloyal his mind in such an unceasing flow that he had to in¬ The piano is, by nature, a harmonic and polyphonic more familiar one is with the style and delivery of individually. instrument: unaccompanied melody scarcely belongs to The tuning and upkeep of the instruments in use is The worst anxiety which hangs over a conservatory vent a kind of musical shorthand to keep pace with great performers (other than pianists or organists), :ing for the reader to compare this its province. The human voice, the violin, the violon¬ l Mr. Leroy B. C opbell’s somewhat more optimistic another somewhat heavy bill. We have made no men¬ manager is the possibility of a really successful and them? Whatever the answer to this question may be the more likely will he be to succeed in this respect. lect, which will be found in this as regards his compositions, it is absolutely certain cello or, indeed, almost any one of those orchestral tion of the outlay of capital involved in the purchase of valuable teacher suddenly breaking away from the that his brilliant and delightful literary essays on music instruments which are capable of sustained tone under An Effect in Ensemble Playing the original outfit—the instruments, furniture, office conservatory and taking his class with him. If the and musicians would have never been written had he the direct control of the player, seem superior to it in It is probable that nearly every successful music fittings, signs, etc.—but it is clear that one should have management has an iron-clad contract with its teachers, Passages are found occasionally in trios and other teacher located in a thriving city where no conservatory not needed the money they brought him. this one particular, yet some of the greatest masters— sufficient capital to purchase these without running too there is (theoretically) a remedy at law, but legal pro¬ combinations for piano and strings, in which the usual of music exists at some time or other gets the con¬ Bizet was the son of a Parisian singing teacher, and Beethoven, Chopin and Schumann, among others, have heavily in debt, and besides have at least a few hundred ceedings for this matter are expensive and uncertain, roles of the instruments are reversed, and the piano has servatory bee in his bonnet. dollars on hand as working capital, in order to provide throughout his life he had to work and struggle to employed this effect for the sake of contrast, often in and for this and other reasons are seldom resorted to. an expressive melody to play, while the other instru¬ There are many attractive sides to the proposition— for emergencies and to be able to meet bills promptly, make ends meet and win recognition as a composer. a most poetic manner. For instance: The best protection possible from catastrophies of this ments furnish the accompaniment. Although strictly the eclat that comes from being at the head of even a in particular the amounts due the teachers. It is not When he died, nobody knew that his “Carmen" was kind is three-fold: Chopin- Etude, Op.25, No.7 speaking, this is not “unaccompanied,” yet, supposing small public institution, the feeling of being of wider safe to count on having a full roll of pupils the dav the greatest opera ever composed in France. 1. Employ only persons of a known sense of honor the piano is playing only a single melodic line of notes, usefulness, the opportunity- of having a suitable concert one first opens the doors. “My father, when he left this world, left us without it is unaccompanied, so far as the piano itself W con¬ hall available for frequent recitals, the chance for vary¬ and fair dealing. a bread winner,” wrote Gounod in his autobiography. cerned, and therefore comes properly within the limits ing the programs of recitals agreeably by means of Arrangements with Teachers 2. Treat them so well that they have no cause for To feed and educate her two boys, his mother took of this article. The same remarks that were made in the cooperation of the various departments, and last In small conservatories, arrangements with teachefs ill-feeling, especially being prompt to the minute in to teaching; but her health was not good and the reference to piano solos apply in this case. but not least, the hope of a much larger income through on a straight salary basis are very uncommon. More settling accounts due them. future composer had all the goad of poverty to ener¬ Schumann- The Poet Speaks, Op.15, No. 13 the profits derived from the percentages of the earnings often they are engaged on a percentage basis, with or 3. Endeavor to make the standing of your institution gize his brain. The Piano Tone Made Cantabile by Contrast of the teachers employed. All these are worthy induce¬ without guarantee of a minimum amount. The exact so high in the community that a teacher will gain caste Massenet’s father was an ironmaster and inventor. In comparison with the expressive sustained tones ments and not to be lightly gainsaid, but before em¬ fair percentage is a very much vexed question: in gen¬ by being connected with it, and consequently lose by Ill health compelled him to give up his work in the of the violin, and similar instruments, the piano tone barking on such an enterprise, it is only proper to look eral it will be found that teachers have no adequate leaving. foundry, and his wife had to take to teaching for a liv¬ some of the difficulties in the face and consider whether appears almost destitute of cantabile effect, yet such is idea of the proportion of the "overhead expenses” and Is Your Temperament Suited to the Task? ing. When their boy entered the conservatoire they not necessarily the case. By using the pizzicato (pick¬ one has the proper temperament, ability and financial feel they are being imposed upon, when such is not the were too poor to give him a monthly allowance, so he Chopin - Mazurka, Op. 33, No. 4 ing the strings) of the bowed instruments as a back¬ backing to cope with them successfully. The writer case. Having had experience on both sides of the One may sharpen a lead-pencil with a fine razor, but earned what he needed by playing the triangle in one of ground, the piano tone may be made to appear warm has personally known of several cases where successful game, the writer feels that he is qualified to speak with woe to the razor! Anyway, a pen-knife will do the the Paris theaters and subsequently by beating the kettle¬ and song-like. This is an effect well understood by Saint- teachers have proved very unsuccessful conservatory some knowledge when he states that if the teacher re¬ job more conveniently. If you have aspirations to be drums in another three times a week, receiving fifty Saens and several other modern French composers. As directors, and have not only embarrassed themselves ceives 50 per cent, of his tuition fees, the conservatory a concert player of high rank or to be a composer, you cents for each performance. Under the stimulus of we cannot conveniently quote an extended portion of financially, but have found themselves overwhelmed is making money out of him, but not to any exorbitant may indeed teach in a conservatory, but avoid the poverty he worked all the harder for the Roman Prize, a chamber-music score in this place, we content our¬ and oppressed with a burden of responsibility and extent; if he receives 75 per cent., the conservatory management of one, as you would the plague. It re¬ for he needed this scholarship. Subsequently he be¬ selves with offering a short made-up example on which worry which almost put an end to any real artistic may be losing money on him, unless he is a high-priced quires an - ntirely different type of mind. To be sure, came very wealthy, and to this day his operas are more the young pianist may experiment, if he can enlist the attainment. teacher of wide enough repute so that his name is an efficient secretary can save you from the drudgery frequently sung in France than those of any other services of a friendly violinist. Overhead Expenses itself a valuable advertisement; if he receives two- of office routine, but no one can save you from the composer. The first problem one meets is the matter of suitable thirds of the tuition fees from his pupils, the conserva¬ necessity of putting your best and most constant thought in the direction of administration, leaving but Grieg, Chopin, Tschaikowsky, Rossini Beethoven - Sonata, Op.31, No.2 location. While rents are more reasonable in the tory is probably making a profit, but a modest one at smaller cities, a music school is often an unwelcome best. little energy for activities of a purely artistic nature. Grieg’s parents were not poor. They could afford guest in an office building, on account of the noise, In regard to the guarantee; it generally works out To be sure, a business man, pure and simple, with no to live in a fine estate a few miles from the interest¬ and sometimes after one is well established the protests this way in actual experience: if the teacher’s class knowledge of music, would be even a greater failure ing Norwegian city of Bergen; and they had the means, of other tenants will induce the landlord to cancel the proves too small to met the minimum requirements, the in such a position; what is required is a person of solid, when the time came, to send him to study at the Leipsic lease. Moving is not only expensive, but often entails manager will generally offer him the entire receipts all-round musical attainments, who nevertheless does Conservatory. But he never became wealthy. Not some loss of business before the public gets accus¬ from his pupils’ tuition fees as an inducement to waive not value his own personal accomplishments in music being a good business man, it was his publishers who tomed to the new address. One solution of the problem the guarantee, and this offer is most frequently ac¬ too highly, but who has a good knowledge of human got rich. His persistent ill-health prevented his giving Here is another example, this time for piano and is to rent a house, but houses are often not to be had cepted. It has been observed that for some reason, nature, a spirit of enterprise and growth, and a sound head for business. many concerts. Once, in London, he refused $750 for cello. in a location sufficiently central and at best they entail which we will not undertake to explain, a teacher’-s an extra concert, saying: “It is possible to buy money To render these and similar passages with eloquent too dearly. Health is more important.” He left $65,000 expression is one of the most severe possible tests of a « Andante cantabile when he died. “All my compositions,” he once ^ said, pianist’s real musicianship. The Pros and Cons of the Small Conservatory “have not brought me in much more than Lehar s in¬ Christiani, in The Principles of Expression in Piano¬ wm come from his ‘Merry Widow’ in Christiania alone.” forte Playing, somewhere remarks that simple melody Schubert once said—and Wagner agreed with him in music is like a nude figure in painting. Both require 1 By Leroy B. Campbell cordially—that the Government ought to help, men the touch of a master, and need a truer, purer conception, of genius. In Scandinavia this has been done. The as well as execution, than if the melody were clothed in pp It occurs to the writer that in this vast country of up to a high standard. Fourth, there is also a friendly The most difficult proposition is the one of pianos. harmony or the figure in drapery. The true artist, ours there must be many splendid openings for the striving among the teachers thus banded together to This may be solved by each teacher finding his own Danish Government gave Gade a stipend which enabled Neither of these little phrases has any great melodic only, can hope to paint the nude in its classic purity— smaller conservatory of music. Mr. Tapper and Mr. keep up to the very best in order that each teacher’s piano. Rent or purchase some make of piano at whole¬ him to continue his studies in Leipsic, and subsequently charm in itself, but when heard in connection with the the’ finished pianist, only, can expect to play a plain Mathews have written on the merits and disadvantages pupils may do as well as those of the other teachers. sale price with privilege to sell the make chosen, which he received one for life. In Norway, Grieg .and Svend- dry pizzicato, they become quite song-like. melody with dynamic perfection. No rules can be laid of the conservatory and private teacher. The smaller Fifth, an established term of work makes it possible to in time will pay for the conservatory instruments, or sen were aided with annuities of 1,600 crowns each a Note:—In examples 5 and 6 be sure not to play the down which will be of the slightest service, except to conservatory as a matter of fact, includes all the gain regular attendance at lessons and facilitates in allowing some firm to set in pianos, the remuneration year for life. To Grieg this help came at an oppor¬ listen most intently- to one’s own tone, and try to ap¬ violin or the cello part. The pianist should play solely good qualities of both the conservatory and private bringing each teacher a fixed term-fee. for which will be the advertising of the same by the the upper staff of each of these examples. tune time when it enabled him to give up teaching and proximate the manner of expression of a great singer, teacher as set forth in the articles by the above-men¬ These are only a few of the advantages yet it is conservatory’s endorsement of the firm’s pianos, or, conducting and devote all his time to composing. Pov¬ tioned writers. easy to see the superior influence for musical better¬ of course, by direct purchase of instruments if one has erty would not have helped but hindered in this case. Let us remember a few of the advantages of a ment that is brought to any community in the estab¬ the ready money. It was shortly after the Government had thus recog¬ mall conservatory: First, the recital hall where stu¬ lishing of the smaller conservatory. Securing of Teachers nized his genius that he penned his masterwork, “Peer MORE AND MORE FRIENDS dents may play before each other every week; this not only offers practice in making public appearances, Some Problems to be Met by the Promoter of a In nearly every case the promoter of the small conservatory will use as teachers in the beginning ^Chopin’s father rose from the position of bookkeeper A friend is one who will go out of his way to do you a kindness. THE ETUDE has but it spurs the student on to greater effort and gives Conservatory three or four of his advanced students, who have good- in a snuff factory, and keeper of a boarding house, to a wonderful opportunity. A place for artists’ recitals The matter of a home for the conservatory may be ** grown through the friendship of thousands who have come to know that we are sized classes, whose pupils will invariably take kindly professorship of French in the Warsaw Lyceum. His is provided at the same time. Second, a library of solved in the rental of some good-sized house or use son never became rich; his compositions were beyond continually doing everything possible to seek out practical aids and reconstructive to the conservatory idea. musical works which the student may read during odd some temporary quarters until a new building in the the comprehension of his contemporaries; his health for¬ inspiration for them. Just now, it seems to us that THE ETUDE is especially helpful. A vocal and a violin teacher can always be found hours before or after a lesson. Third, the friendly city is put up, when the owners will gladly plan rooms who will favor the conservatory plan. bade his giving concerts; and he had to make h.s living Won’t you do us the favor of telling your friends about it—tell them why it is always rivalry, which exists in all institutions, spurs the suitable for the needs of the conservatory home that There' remains the arrangement of terms with these by teaching. Owing to his failing strength, his las profitable to have THE ETUDE come regularly to the musical home. pupils on to their best efforts; there is also a consider¬ is desired. The owners will do this since it means assistant teachers. It is to be remembered that the months mi|ht have been passed in dire poverty had it able pride among students in being one of a regular to them a sure and regular rental year in and year smaller conservatory is not for the purpose of making not been for a gift of $5,000 by a Scotchwoman, Miss institution, which encourages them to keep their work out. great money for the director, but for the making of Sti^ng. Yet it was not the goad of poverty that JANUARY 1919 Page 19 * TEE ETUDE THE ETUDE Page 18 JANUARY 1919 New Definition of a Fugue 1»P»» _ _ ■: superior musical advantages for the community. The i ■ iA teachers should be taken into the entire confidence By Joseph George Jacobson of the director, shown the expense of equipment, the advantages to the teacher and community and then Although there are very learned readers perusing asked for a fair percentage on their teaching. the pages of this interesting magazine I do not think hat any of them have heard this new definition of a Advantages for the Promoter The Magnetism and Charm of theXrue Artist fugue How often teachers have been asked by their “What is the director to gain?” you ask. r«,nils what a fugue is, and how few are able to explain Especially Selected for Etude Readers from the Recently Published Volume Entitled As stated before, the first and most important thing satisfactorily to fhe pupil (especially when the same has “ How to Sing a Song,” by the Noted French Chansonneuse is the larger usefulness of music in the community. not been blessed with an exceptionally good quality Second, eventually, the percentages from the other of gray matter). . . . teachers will take care of all rents and if the school •‘Grove’s Dictionary” says: "A fugue is a musical MME. YVETTE GUIEBERT grows some profits will naturally accrue. Third, the movement in which a definite number of parts or director can get a higher price for his lessons than he voices combine in stating and developing a single times aided by physical beauty; but if your mouth speaks otherwise could, since he will have a larger following We singers of songs, we are painters. Our voices theme the interest being cumulative. A well-known the language of a beautiful soul, if your eyes reflect and more publicity. Fourth, he will certainly receive are there to color the story, the picture we exhibit. We [Editor’s Note.—The Etdde prints by special aphorism says “a fugue is a composition in which one arrangement with the publishers, THE MACMILLAN the sentiments of a generous heart, the beauty of your from his under-teachers better prepared pupils than he must illustrate our songs as an actress her part with Company, the following extract from one of the voice runs away from the others and the hearer from soul and heart will prevail over the body. would get in any other manner. Fifth, he will have many colors, that is to say, many vocal colors, and so most original and unusual books upon the art of the them all.” Still, a form of composition which inspired singer we have ever been privileged to sec, ‘How to There are women on the stage who are magnificent a regular, well-defined course and will issue certifi¬ help the public to see with their eyes what they hear Sing a Song/’ copyright, 1918, by 1 rette Ouilbert. cates or diplomas if incorporated. This always spurs Bach must be worth studying. Mme. Guilbert’s career is a most interesting one. She in their beauty, but who nevertheless lack personality, Here is the definition I heard the other day trom a students on to their very best efforts. All students with their ears. was born in Paris and educated at a convent. For a magnetism and charm because they lack soul. musically uneducated man. A mother brought her little Only a series of voices can produce this. time she worked in an embroidery shop, then became expecting to graduate will study with the director the a dressmaker, then a newspaper reporter, then a What then is Soul? daughter to me to take piano lessons. I found the little Of course I know how dangerous this is for the singer, eventually appearing as one of the hwhest- last two or three years. priced artists in vaudeville, and, like Albert Cheval- The soul is a compound of all our intellectual facul- There are also other advantages, but the above are one quite exceptionally gifted, and was glad to get such voice, and for this reason I never advise a student to lier, bringing genre types to the stage with an art a talented pupil. I wondered from whom she could indulge in such vocal gymnastics, as the beginner does that won the intense admiration of famous musicians. sufficient incentives for the earnest teacher who is The soul is a compound of all our intelligences—in¬ have inherited her talent, as the parents were of the not know how to direct the vocal mechanism of his She then proceeded to give historical recitals of old looking farther than just the pocketbook side of French songs in a noteworthy fashion, eventually telligence of the heart, intelligence of the brain, intelli¬ uneducated class. . becoming a teacher of interpretation in one of New music teaching. York’s best-known music schools.] gence of manners, intelligence of taste, intelligence in The business side of such a school can be reduced One day a laboring man entered my studio, introduc¬ For instance, it gives some songs more color if you Art. to a minimum by.having each teacher take care of his ing himself as the father of the gifted little girl or, as sing them en poitrine (on the chest register), instead An artist’s soul n ;t have multiple intellectual qual- own accounts by use of the conservatory billheads he put it, “he wanted to take a look at the guy what of using the passage in which the voice ought to be ities. and stationery, as well as the sending out of circulars was going to teach his daughter the pianner. placed. It would be incorrect in opera technic. Again it i s for u i find them c t and to cultivate After taking a good look at me lie said that as ne The gift, the talent of an artist, will be without and catalogues. But if I have a pupil who possesses all other qualities them. CHARLES W. LANDON was not accustomed to buying a pig in a poke, he God places in us that which is luminous and which power, if his soul is inferior, if it has not all virtues How to Promote the Growth of the Conservatory which are required for a singer of songs; that is, 1856—1918 would ask me to play him a tune. fantasy, originality, the power of comic expression, the we keep, sometimes by sheer ignorance, in darkness. and all generosities, if it is low and narrow-minded. The director can extend his printed “graded require¬ Amused and a trifle annoyed, I played the first fugue power of tragic expression, literary culture, instinct of He plants in us that which is necessary to be mag¬ We all know beautiful voices and really talented ments” into the surrounding towns as fast as he turns of Bach’s Well-tempered Clavichord. The man listened the plastic, sense of observation, a face with expressive nificent, but also that which enables us to be hideous; singers who have no power over their audiences. The out teachers competent to take charge of such work. very attentively, and at the conclusion of the piece, ex¬ eyes and mouth, an immense sensitiveness—I direct him it is for us to choose. public says: He or she is . . . very clever . . . but The suburban teacher together with her or his com¬ The Etude last month printed a very short notice of claimed : or her to aquire all registers, all vocal colors necessary The great French poet, Paul Verlaine, has shown us so cold 1 They are cold, because they have no soul, no munity thus receives some of the benefits of the con¬ the death, from heart disease, on November 7th, of “Now, that’s great!” to express songs of all characters. in his sublime “Confessions,” that the higher the human heart. For that reason they lack sensitiveness. servatory. The director should hold examinations for I asked him why he thought it was so great, and what Charles W. Landon, in New Orleans. I met in the early beginning of my career two very soul strives, the greater is the struggle. They have a fine instrument, which leaves you quite the various grades in these districts on the basis of his Charles Woodworth Landon was born at Lakeville, impression he received from the piece. His answer famojis musicians with whom I discussed this very sub¬ The way to Darkness is made easier than the one conservatory course and in this way he brings to his indifferent! Why? Because you feel you are nothing Conn., June 17th, 1856. Among his teachers were was; ject. The one was my eelebre compatriote Gounod. which leads to Light. own classes not only desirable, but well-prepared pupils. to them! 'William Mason and William H. Sherwood. Gifted with “Well, boss, I might as well tell you the truth. It Gounod told me very often: “Mademoiselle Yvette, What is the carrier of your magnetism, your charm? For the future of the institution, and at the same They do not care for you, nor for any one! very great initiative and originality and animated by made me think of my old woman at the garden-fence for God’s sake do not take singing lessons. Your pro¬ It is your personality. time to secure talented students, it might be well in the If you were in daily contact with them, if you were high ideals, he became one of that pioneer class of talking to Mrs. Casey, but, before she had a chance to fessor will kill your power of expression by giving you What is your personality? early days of the conservatory to hold a competitive their friend or parent, you would find out that they musical educators that has been of very great import¬ finish what she had to say, Mrs. Casey butted in, and a ‘pretty voice,’ which means a ‘flat’ voice. And then The’ essence of all you are and all you feel* the examination in several near-by towns. This will bring are dry, selfish, hard. ance in the musical development of America. He was then came another neighbor and butted in, and then you will be one of the thousands. You will be like combined effect of body and soul. out a number of contestants and the director can like Dr. Lowell Mason in that he was a kind of evangel¬ another, and the whole bunch jabbering together, but Develop yourself in beauty rather than in ugliness, The soul of an artist, the magnetism and charm of choose the most talented pupil for one term’s free Judic, whose voice is pretty, charming, and nothing ist of music. He taught in many conservatories in all dropping off one at a time, till towards the end my old else. We have had Judies before Judic and we shall have a great soul, a greater heart. his personality are sometimes more responsible for his scholarship. The teacher’s work is thus sure of being parts of the country and conducted many schools. In woman comes out ahead of the hull lot with what she have Judies after Judic. You yourself have created The charm and magnetism of a personality are some- success than his talent alone. well represented in each town, for the pupil he 1889, in Hudson, New York, he founded the New York set out to say!” The high salary paid to an artist is not always a chooses will no doubt be a much better advertisement your style; preserve it.” State Music Teachers’ Association and was its first On one of his last visits to Paris, Verdi came to proof of his talent; it is more often a proof of for him than any of a half dozen ordinary pupils, who president. For a time Mr. Landon was editor of The his popularity, or a tribute to his sensationalism. might chance to come to him from this same town. Measuring Youth my house. We were speaking of interpretation. Etude and is remembered by his former associates for I asked him to explain to me why he had com¬ The success of an artist is not always due to This also gives the director an opportunity to meet a his ever-flowing fount of ideas and his kindliness and the multiple qualities of his art. number of other students, teachers and parents, who By M. Z. Bergmann posed in “La Traviata,” for the supper scene, the high ideals. Withal, however, he was practical and his You remember some years ago a monkey, may be brought into closer touch with the conservatory. spirit of which was so sentimental, such a viva¬ works for students are characterized by that same rare called Consul, made quite a sensation on the As mentioned before, the small conservatory is not Many teachers make themselves fearfully uncomfort¬ cious music almost in a tempo of waltz. “You characteristic. His Reed Organ Method and his Foun¬ Music Hall stages of London and Paris. I re¬ a proposition by which a teacher may gain great or able because they expect too much from youth. Never see,” replied Verdi, “if we had on the operatic dation Materials were his best known works, although member having met somewhere on a stage an sudden wealth, but it does offer a means by which the forget that some children grow up mentally long before stage singers of songs such as you are, we would his Playing Two Notes Against Three, his Wrist Stud¬ “artist” who was jealous of Consul’s success, much-needed influence of music may bring the greatest others. This is one of the advantages of private in¬ write music appropriate to the words; but we ies, his Writing Book for Music Pupils, Sight Reading have only more or less beautiful voices for arias, and who was sincerely in despair that she could good to the greatest numbers. Album, First Studies from the Classics and his School dividual instruction. The teacher, for instance, has a and we write music for arias, arias to make shine not draw the same crowds as the monkey. of Reed Organ Playing have been greatly admired by very bright pupil—the pupil in the next period may be the soprano, arias for the contralto, arias for the The crowd flocks, of course, to sensational and What Method Do You Use? their many users. next door to a fool. To adjust one’s pedagogical dos¬ age to the second pupil is something that is enough to tenor, etc.” cheap popular ty, which, I think, was so wonder¬ A letter from Mrs. Landon describes his passing in You hear these authoritative lips confirm the tax the therapeutic knowledge of the greatest of minds. fully illustrated by Consul, the high-salaried By Louis G. Heinze New Orleans in the following beautiful terms: idea that there is a difference between the operatic “After investigating conditions here, I wrote Mr. Psychologists tell us that one of the highest attributes monkey. singer and the singer of songs. Real art has a limited public. One of the most, if not the most, important questions Landon, urging him to give up teaching-come here of the mind is the ability to perform rapid adjustments. Take a city like New York with, as I under¬ in the study of music is, “What method have you and spend his last years in companionship with his The average music teacher is called upon every hour son, Charles W. Landon, Jr., now eleven years of age. or so to make some gymnastic mental flop which even What is magnetism, what is charm? stand, five or six million of inhabitants. You adopted ?” Magnetism and charm are imperative powers have only one opera house and only two fairly Method alone can control thought and lead it to its To my delight and surprise he accepted hurriedly, and the trained jurist or the average physician would admit given to your personality. sized halls devoted to pure music, but you have goal and keep it there, for the power of the teacher and reached here the night of November first. He was with is astonishing. They are a force of attractability, which every dozens and dozens of palaces devoted to the cine¬ the success of the pupil depend on the method. us just five days when he was called—but the memory one carries in himself. There cannot be a the only method. Certain prin¬ ' of those five days will ever be held sacred to us. He matograph and what you call so euphemistically Learn to Think Music Each of us has received by nature the gift of ciples are the same in all methods, but the method seemed to have laid aside all cares and discouragements. “Vaudeville.” Schumann wrote to a young musician in 1&18: some talent; our duty is to discover which talent should fit the pupil and not the reverse, since any His manner was gentle. He had a kind word for Why? “Above all things, persist in composing mentally, with¬ method should be subject to change. everyone and sat much of the time in deep thought. Because the public for real art is limited in So many persons bom perhaps to be musicians, Pupils who are made to follow a fixed method will His face shone with a reflected radiance of a soul ready out the aid of your instrument. Turn over your number. painters, sculptors, or writers become lawyers or be very much alike but most likely lack individuality, to depart. Strangers spoke of it. He went with me to melodic idea in your head until you can say to your¬ Therefore the path for the true artist is not a bankers because their fathers were bankers or but when the method is made to fit the pupil, it will the little Italian church on Sunday and played the little self, ‘It is well done.’” Elsewhere he says: “If y°u smooth one. reed organ. Never again will that little organ so speak can pick out little melodies at the piano, you will be lawyers; and they, in their turn, will be just as produce the best results. ignorant, or just as indifferent towards anything If his ambition aims higher than cheap popu¬ When the teacher begins his work, he feels obliged to its people. His presence here those five days has pleased; but if they come to you spontaneously, away their children’s soul might reveal. larity, he must be prepared to struggle against to use the method of his own former teacher, but he done more for my people than I expect to accomplish from the piano, you will have more reason to be No wonder that Humanity is crowded with ignorance, incompetence, indifference, and bad should keep up the study of new or other methods, also delighted, for then the inner tone-sense is roused to taste. read and digest The Etode and other good musical activity. The fingers must do what the head wishes, failures. Rare are those who hear their inner voice, who The crowd, which is always more numerous magazines from cover to cover and gradually try out Avoid Long Studies and not vice versa." On still another occasion he are able to understand its precious language, who than the intellectual aristocracy, is not yet ready every new point in his own work and,, when found sat¬ In the earlier—and indeed in all—stages of technical spoke to the same effect: “If you set out to compose, are able to become aware of the rare present, be¬ for beauty. No nation has as yet a populaV elite, isfactory, on the pupil, adding everything that he finds training, the use of very long studies is but too often invent everything in your head. If the music has stowed on them by nature, to become aware of it a crowd totally educated, and the first-class artist of value in teaching his own pupils. a great waste of patience. There are few long studies emanated from your soul, if you have felt it, others while they have still their whole life before them appeals only to a limited first-class public. Now, In this way he will, by degrees, acquire an elastic of which the essential features could not have been in¬ will feel it too.” to develop it. if it is a great soul which makes the great talent eclectic method of his own, which must be far better cluded in some short phrase which (if need be) might be If nature bestows on us such a gift, be sure we of an artist, the public, attracted by this artist, carried, in sequence, up and down the keyboard in a set “That which gives incomparable value to a work than the one he studied and every other one. receive also the necessary accessories for its de¬ has certainly the same great soul. They under¬ prescribed pattern, and so learnt without the expendi¬ of art, as something unique and of immeasurable force, Remember, no matter how great your success, you velopment. Mme. Yvette Guilbert stand each other, they love each other. Each never dare rest satisfied; there are greater results to be ture of valuable time in reading three or four pages of is the personality of the artist, together with the unnecessary amplification.—Dr. Henry Hiles. worked for. emotion that expresses it.”—Paul Gaultier. THE ETUDE

Page 20 . JANUARY 1919 THE ETUDE JANUARY 191J Page 21 Parents As Music Teachers artist has a clientele corresponding to his soul. There are of course among those some exceptions, who will By Edward Baxter Perry be disappointed if you do not degrade your talent, your art, your soul, by giving them not the best, but the , • tr> A0 in a year what takes the profes- worst of yourself for the sake of money or cheap The great majority of parents in this country wish arss'.xa- ™ success. their children to take music lessons and make some progress in that subtlest of the arts. It is difficult t USForyeiample,noet lo°n°g ago I had a very courteous but The Teachers’ Round Table An artist must resist and disda in these approaches of the sav why but most of these parents care little for urgent letter from a lady in Kansas who had heard one Devil! An artist has the duty The audience in a theater is like a°crowd in a church. The music and are interested in it only when ttar°wn of my recitals and thought I might give her some Conducted by N. J. COREY artist, like the priest, must kmow that there are wolves children make it. It may be parental vanity, or because advice She stated that she had a daughter fourteen among the sheep . . . and n iust not fear them. The artist is loved for what he... nr —vshe has created, and, the children of some of their friends study music and years old, taking a course in the high school and also This department is designed to help the teacher upon questions pertaining to “Hou> to Teach;’ “What to Teach ” etc., and not technical problems per¬ for that reason the artist must not be impressed ^ it is considered " the thing.” Or, in some cases, it may studying music; that something seemed to be wrong taining to Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered department. side influence! It does not matter who gives you advice on vour art don’t listen! Remain yourself and nothing be a real desire to give the children advantages which with her musical progress and the local teacher could Full name and address must accompany all inquiries. else' Onlv the students, the debutantes, have to consider •the parents themselves lacked, or did not appreciat advice. But when your personality has ripened, your S Wo " it' .L. .IK had ptwd ■» «* >«- developed, close your ears! Be what you are. express when young. . . hoven Sonatas, all the Chopin Studies, and all the what you feel, go straight to your aim of beauty . reveal in But it is a curious fact that in many mstances the Keeping Up the Interest Left Hand comprehension. If possible, this reading should be Liszt’s Rhapsodies, yet did not seem to progress muck done out of the regular practice hours, just as one would parents are the most serious hindrance with which both s In the left band What did I think she had better do next? 1 answered "Would you advise me of the best method of ___ _ read books and novels, and the reader should be taught the pupil and the poor music teacher have to contend. that she had better lock her piano; not look at it for a gaining and bolding the attention of my scholars „ ___of the notes. What studies couli Saare1tsthsuCin^knOW.by so the work will not grow monotonous to them? u recommend for the left hand alone?—C. R. to consider that he is entertaining himself just as much This is strange but almost universally true. I hear tne year- try to forget some of the things which she had I have about fifteen, ranging from eight to thirty you“oi a™ fp'oor ^mfn P“f“u C0°fTopl, ful same story from teachers all over the country no In age. It pussies me trying to keep all Inter- You give no indication of the advancement of your as if he were reading the latest novel. of deception ... a poor human being dreaming of failed to do, and then try to find a teacher with a few kindness, of beauty, of love. Show your public all the matter what the size or supposed culture of the town grains of ordinary common sense and start over again pupil. As a general principle, however, scales and ar¬ precious smiles you have, hidden behind your tears, and may be. These same parents buy a piano, often at The question you ask is really not one of practical peggios should be practiced with strong accents. Every let the public guess how you must have suffered to be ,aole at about the third grade The fond mother was doubt¬ :ranslate its own »u considerable sacrifice, and pay out more or less good less much,horrified, but it was the best advice I could method. That must, as you say, be governed entirely by other note, groups of three and groups of four. The effc money annually for the child’s instruction, selecting left hand should practice alone for a few moments age. hag been taught by her mother. The latter offer the only thing that could possibly save the situ¬ the pupil’s capacity and degree of attainment. The point has now turned her over to me and wants me to the best available teacher, or the one they think is th ation—if it could be saved at all, after so many blun¬ of sustaining interest in pupils of different ages and each day; then with both hands together. The atten¬ lay the foundation for a musical education for her. best, and then systematically, though no doubt uninten¬ tion should be fixed on bringing oyit the left hand She has been giving her Mathews and Mason s Speak the language of generosity, of pity, of charity, ders had been made and so many bad habits inevitably personalities is one which concerns the teacher’s per¬ Touch and Technic. Says she does not want her tionally, proceed to block the child’s progress at every of liberty, and purity. formed. ,, . sonality and gift for the practice of her profession. accent. If in the early stages, select studies from the *o have any pieces while she is doing her technical step. They will frankly admit, most of them, that they —*. --ery small, but she is bright Rise so as to uplift others! The artist never lived who could cover that amount One very strong element is a regard for the teacher, Standard Course and your Czemy-Liebling, or other idles should I add?”—U. P. “Give, give, give!” shall be the motto of the true know little or nothing about music, but they have of ground properly in less than twenty-five years, and which acts as a stimulus in desiring to be with her and studies in which occur left hand passages and give engaged a fine teacher for Mary or Susie and expect very few even in that time. in wishing to please her by thorough preparation. An¬ them special attention and prolonged review. In the The teaching method hinted at by you in your letter artist. great results; then proceed to frustrate the teacher s Make out of the essential human virtues your mo¬ Another kindred mistake is to overrate and over¬ other is the discovery of what it is in music that specially fourth grade there are Twenty-four Studies for Left is one that originated many, many years before the best efforts by dictating how and what and how long praise the pupil’s ability and achievement, which tends attracts the learner. Some children love the instrument Hand, by Czerny. For beginners in second grade, recent war, was prevalent in some European countries, nopoly. the child shall practice, what she shall study, etc. to induce conceit and stultify ambition, giving a false itself. Mendelssohn had such a love, and I, myself, Twenty Exercises for the Equal Training of the extended (under protest) into this country and of Train yourself to be exceptional: Parents, of course, object to scales and exercises as standard of values. I remember years ago in Boston knew a little girl who used to kiss the piano keys, Hands, by Wolff, will give you excellent material. In late years has happily been becoming obsolete. It By doing for others what has not been done for you 1 tedious, uninteresting and useless, and, above all, ‘ not a proud father bringing me a child-wonder, a second the third and fourth grades. Eight Measure Studies for seemed to proceed on the assumption that by making By giving others what has been refused to you! pretty,” though in fact they are as essential as correct “because she loved them so.” Others love harmonic Aus der Ohe, who would infallibly make my fame as a Daily Practice, by Wilson G. Smith, you will also like. the early instruction of the pupil as dull and full of Help each one, knowing how hard is the struggle! spelling in letter-writing, and no pianist was ever yet sound; others melodic; others still, rhythmic move¬ teacher by her wonderful accomplishments. He stated In the third grade the First Study of Bach will force drudgery as possible, he would later turn to the playing And with that soul which animates you, the true made or ever will be without spending many hours per ment. You will find it of immense help to study and that she could read at sight any composition which I of pieces with more gusto for the punishment that had artist, you will animate your conquered world! month for many years on just these lines of technical question each of your pupils. Children love tunes; the pupil to give attention to his left hand, as Bach chose to place befoi'e her. 1 found on examination that been inflicted upon him. Today people are learning development. Why don’t they object to the teaching older people, intellectual quantities. Interest must be recognizes no difference between the two hands in his the little girl had some talent and was fairly well up to that it is better to let the learner realize from the of spelling in the public schools on the same grounds i freshly created from lesson to lesson. A little talk part writing. In the fifth grade, of the same difficulty the second grade; that she could not read at sight even They object to classical music because it is not popular about a composer; a little explanation as to the why as Cramer, are Fifteen Etudes for the Cultivation of first that there is something delightful in music that the easiest first-grade studies, but that she was anxious Aids to Flexibility of the Hand Tissues in society. Why not manifest the same opposition to and wherefore of an exercise; a little account of just the Left Hand, by E. R. Kroeger, which are musicianly, he would enjoy. In most children the flame of art love to play at once the Moonlight Sonata. The fault was history, geography, mathematics and the best English how this or that in the work is to be part of a beautiful beautiful and valuable. The first book of Philipp’s is but a flicker, and needs to be carefully nurtured or not hers but her father’s, and she afterwards proved an result; a little transmission of enthusiasm from your New Gradus ad Parnassum, ranging from the fifth to it will go out. Children in particular should be made By Martin Rawlinson literature, as taught in our schools and colleges? The unfortunate teacher, if conscientious, is trying apt and diligent pupil. Whether she has ever played own mind to another’s; a little "now we are going to the seventh grade, is devoted to the left hand alone happy in their work. Mason’s Touch and Technic is an to make an educated musician of the pupil, or at least the Moonlight Sonata or not I cannot say. do something we just love to do, you and I,” conveyed and could not be excelled for advanced students. A unsurpassed work, but it was never intended to be used to come as near that as the manifold difficulties permit; If the parents know, or think they know, so much with voice and manner to children with the actual delinquent left hand is not unusual and these sug¬ exclusively, nor even taken in large doses at a time. A You will find your velocity exercises all the more better than the teacher all about music, and what the not to cater to the wishes of so-called society which, words, is a great help. Perhaps you have tried all these gestions may be helpful to many who are a little un¬ little of it should be made to extend over a good deal facile of accomplishment if you will pay some atten¬ child needs, why in the name of ordinary common broadly speaking, does not know Schubert from sherbet, things. Then I can only wish you the success I feel certain where to turn for special material. of time. It contains the technical material to cover tion to keeping the actual tissues of the hand flexible sense do they not give the instruction themselves and but has rather a predilection for the latter—they want they will ultimately bring, and ask you, if you yourself several years of study. The Liebling-Czerny studies by a little extra treatment. Here is one that a Southern save the price of lessons? If they do not, why can they the child to take only “pretty pieces,” or what they discover something more, to let The Etude have the may be used with the Mathews, as the latter book pianist told about, as the explanation of why her hands not give the teacher a fair chance to show what he or consider such, forgetting, or probably not knowing, benefit of it, in order to help others. were so wonderfully supple and smooth. she can do, without constant hindrance and annoyance? "I have a pupil wh > has taken piano lessons contains by no means all the work necessary to cover that more than half of all the best music in the world for four or five years, Is able to pick up piecas each grade of the several volumes. If the mother men¬ Get a pair of kid gloves—the larger the better— And if in due time, after careful comparison with the and Is anxious to read still is not “pretty” at all and never was meant to be, Self-Training by himself very rapidly, tioned is wise, however, she will let you exercise your and turn them inside out. Have ready a mixture of having a far different and far worthier reason for results that other teachers have obtained, the one they beeswax and paraffine, one-third of the foimer to two are employing seems to have proved unsatisfactory- “What would you recommend for one living In a own best judgment in the instruction of the child, existence. remote town who must study without a teacher and permit the generous use of carefully selected parts of the latter. Put in’ a double boiler and bring Especially do they insist upon what is known as change and secure another. for a time at least? I am nearly twenty-five, and my study during the past fifteen years has been Very little time needs to be given to sight reading at pieces, in which you should point out and insist on the slowly to melting point. Be exceedingly careful not to “quick music,” the intended meaning of the term being The true attitude toward the child to be maintained very desultory and broken. I can play In the lessons. You should be able to teach pupils in a very let the fire come into contact with these ingredients, for probably something bright, rapid and gay, entirely ig¬ by parents or guardians who are not themselves well- third and fourth grade. Would 1 be able to make observance of all technical points that occur in them. music my life work? Also when should I study few lessons how to practice sight reading, and, after they are both dangerously inflammable, and they would noring the fact that much of the best mus'c is serious recognized musicians is to stimulate its interest in the harmony?”—C. 8. S. that, a general supervision of the work should be all and slow; also the seemingly self-evident proposition work, and especially in the way the work is done, by- A Paralyzed Hand go up in an instant. that is necessary. For this purpose it is better to use As they melt, stir them until they are thoroughly that a child must be able to walk safely and steadily showing some interest and appreciation toward it; give A definite routine, or method, is necessary in a case music that is a grade simpler than that which the pupil “Lodz Illness left a pupil of mine, who Is a mixed. Then take an ordinary flat brush, like a paint before he can run. Also, that there are many occasions the child the best musical advantages within reach and of this sort. Mastering the Scales and Arpeggios will sewing teacher, with a partially paralysed hand. is studying. It should be simple enough so the brush, say an inch across the wide end of the bristles when a fairly graceful and dignified walk is far more in every possible way encourage its confidence in the be a hand-book that will be practically indispensable. pupil can read it with the least possible consideration (which should be as soft as possible—not stiff, like appropriate than a racing sprint. Fancy running in teacher and its love for the art. And, then, hands off! Study its text very carefully and follow every direction. Give the teacher a chance! Do not try to impose your This will provide you with the most essential technic. of hand and finger movements. If he is practicing in her, and what studies and pieces? She plays in some brushes) ; now dab the gloves all over, fingers church or at a funeral! own untrained judgment and imperfect knowledge The Standard Graded Course will provide you with an the fourth grade, sight-reading pieces should be from and all, keeping the mixture warm enough to permit of There are other unfortunate factors that too fre¬ on either teacher or pupil. Do not expect the impossi¬ order of study or, in a sense, guide to progress, which the second and third grades. First look over the piece In this case the treatment should be very gentle. the free flow of the rapidly cooling oils. Be sure that quently enter into the parental would-be guidance of ble and do not manifest a preference for trash, even if cannot be excelled. Supplement this with Czerny- and try to gain a general idea as to its tempo and Nothing difficult, as work of a puzzling nature tends y0i4 cover the inside of the gloves evenly, and as both teacher and pupil. One factor—perhaps the most common—is the excessive haste called “ambition,” as you secretly court it—and at the same time expect real Liebling Selected Studies, beginning with the second characteristics. Next try and play it through, stopping to confuse the brain, and would aggravate the trouble. thickly as the oils will stick. applied to the pupil’s work. The child is expected to musical progress. Art is long and hard, and remember book. Heller’s Opus 47 and 46 should be studied as a for no errors of any. kind and make no corrections. If You probably know that the root of nearly every Then turn the gloves right-side-out, warming them accomplish in a few weeks what cannot possibly be always that the popular taste is invariably a century part of a musical education, if professional aspirations a mistake is once made, it does not help matters to stop paralytic trouble is in the brain and any undue agitation should they be too stiff to be turned without some of done even by a world-genius in less than several years. behind and a hundred miles below the best. are held. Should you teach, you will need to make use and correct it. Leave this for music that is being seri¬ there is unfavorable. The work should be made as the ointment scaling off. . of them. They come in the class pf artistic studies. ously studied. At the beginning play each piece through pleasurable as possible, no more technical practice Before you go to bed at night wash your hands in You may begin the study of harmony at once. The about twice. Later, as facility is acquired, only once, than can be encompassed with enjoyment It should comfortably warm water and a bland soap, brushing One Way to Save in Music Buying most suitable book for you is Preston Ware Orem's although it can be read again later. For reading matter, be mostly scales and arpeggios, a few standard exer¬ the nails and the finger-tips with a moderately stiff The Beginner’s Harmony, which is so written that the secure some of the fifty-cent albums that are now so cises in passage work, and hand and forearm move¬ brush. Rinse well and dry, giving the whole hand a By Claude Timblin teacherless student may be helped as much as possible. numerous. A V°ok like the Student’s Classic Album is ments. She is not likely to become a professional sort of massage with the towel as you rub 't dry. As to the professional career, I cannot answer definitely excellent from a musicianly standpoint, as it makes the player. Therefore, fit the work to the individual need, Now before they can annex any particle of dust, draw Some time ago an acquaintance of mine studied a collection for sixty cents. I bought the volume. On without knowing more as to your ability and aptitude. reader familiar with a wide range of the best music. which in this case is pleasure. Eliminate the tiresome, on them the gloves you have:prepared. Keep them on Chopin Waltz, buying it in sheet music for about examination I found thirteen other Russian numbers, It would be unusual if you should succeed in becoming The musician can technically master only a small pro¬ lest it react on the brain. If you can select pieces that all night—and every night-and you will soon find a twenty-five cents. Later another of the waltzes was some of them new to . me while others I did not have a brilliant player at the age you mention, but there is no portion of music that is worth while, but should in¬ cover certain technical points, so much the better. Try marked difference in the quality of the skin and the necessary to the young musician’s education. It was in any other collection. reason why you should not acquire a thorough musical crease his knowledge of great music as much as possi¬ to free yourself from slavery to routine methods in flesh It will be softer,- more pliable and more re¬ purchased in the same way. Now for the amount Sometimes when buying music this way it seems education, make a close study of teaching methods and ble, just as a student of English Literature must read instruction. Routine is a splendid thing to start on which paid for the two waltzes, the entire fifteen extravagant or like buying something you do not need, sponsive to the muscular demands made upon it at the music, attain fair facility as a player, and make of your¬ extensively in all periods. The Standard Opera Album and to keep clearly in the mind, so that you can make could have been bought in a volume of good edi¬ but in the end you will have a broader knowledge of keyboard. Should you find that the nails become brittle self a good teacher. You might not become as fine a will make the reader familiar with many of the great divergences from it when the needs of a student de¬ tion. Probably as my friend becomes better acquainted the world’s musical compositions at a saving which with Confinement in the gloves, cut the ends of the musician as those who have the advantage of living in operatic melodies. There are many similar albums that mand it. In the case you mention, the etudes should be with Chopin he will desire the volume. He will still may be appreciated in the near future. glove fingers off to the root of the nail. the great musical centers, but there is no reason why are now available. Judgment will need to be used in few. I have known of similar cases where it was have the sheet music, the cost of which might have Every music teacher should aspire to have a fine This treatment also tends to bleach the skin, so that you cannot make of yourself, if you have the ability selecting albums for your various students, as those better to eliminate etudes altogether. Do not hesitate the hands present a better appearance on the piano. been saved. library of such numbers, all carefully labeled and and faculty for study, a better musician and teacher whose taste has never been developed, being unable to classified so that they can be immediately located. to do so if physical conditions in the case you hare This per se is not to be considered a matter of mere The other day I had occasion to purchase a mod¬ than many who are working in the same musical centers. comprehend the classic music, would better devote their ern Russian number. The clerk informed me that Fifty cents a month would mean some fifty or sixty in hand should seem to demand it. Above everything vanity, for it is rather one of the trifles that make up There are many of them who are very bad. reading moments to something within tjieir immediate it could be had in sheet form for thirty cents or in volumes in five years. make her happy in her work. perfection—thkt perfection which is no trifle. JANUARY im Page 23 TEE ETUDE THE ETUDE Page 22 JANUARY 1919 Repertoire of the Piano for One Hand Only By I. PHILIPP

Professor of Pianoforte Playing at the Paris Conservatory the first, twelve excellent Some have asked me if there existed an interesting ,h„ from the P» of m. studied; and the second, a series of useful exercises. most difficult piece of the whole repertoire, inmybeliet, repertoire for the right hand or the left hand alone. One should mention also a Sonata of apleasmg Mhe~Fontasieby Ch. V. Alkan. It is, notwithstanding, So many poor beings who love music have lost one or sonority by Reinecke, and four interesting and difficult a beautiful page of music. Scriabin and Blumenfeld, the other arm that the question merits a detailed answer* two Russian masters, have written, the first, an Etude U pretS' nearly all. It is useless to remark, Much has been written, in effect, especially for the and a Nocturne, two delicate pieces of greater effect among modem people, that Clement, and Cramer have left hand alone. Virtuosos of the Romantic epoch than most pieces for two hands; the second, a beautiful written much in which the left hand has a l«dmg part loved to show off their ambidextrous facility, and were and that there are certain classic pages, such as the pleased to execute in public pieces especially written for Etude de Concert. The sixteen Etudes of Chopin, transcribed for the left School for the Left Hand, by Czerny. the left hand alone—more rarely for the right hand hand by Godowsky, are masterpieces of ingenious com¬ alone. In our time a well-recognized artist, Coiint The Right Hand Alone bination. The Exercises, Op. 89 of Berens, and the Zichy, having lost his right arm in hunting, worked a For the right hand alone there is very Httle: ExtrcUS School for the Left Hand, Op. 143. by Gurlitt, are good long time under the direction of Liszt and developed per la Destra Sola, by de Valle del Paz; an Etude by useful works and somewhat less difficult. Of the same a virtuosity altogether astonishing. I remember haying Galdi, one by Rudolphe Ganz, another by Kessler, and grade aZe Six Etudes by Marxen (Brahms’ teacher), heard him some thirty years ago in three concerts given an Introduction, Variation and Finale, of superb sonor¬ Etudes, Op. 8, by Birkedal-Barford, (especially desir¬ it Paris. His success was a live one. He had com¬ ity, by Ch. V. Alkan. posed six concert studies, a sonata, and likewise a con¬ able) ; Three Pieces, Op. 27, by Winding (Har.sen), certo for left hand and orchestra. Some transcriptions, and the Op. 113, Qapriccio, Menuet and Fughetta by Practice Advice Rheinberger. A charming study, Sur TEau, by Hans such as the Polonaise in A of Chopin, and the Chaconne The chair, ordinarily placed at the center of the Huber, a Caprice by Rudolphe Ganz, a very interesting of Bach were cleverly written. piano, should be put a little more to the right, so that and difficult Etude Chromatique by E. M. Blanchet (9 But the most complete work for the left hand alone one plays with the left hand just a little more to the Etudes, Ricordi), all merit acquaintance. Di Valle is that of an artist forgotten in this day: F. Buonamici. left than where the right hand would naturally play del Paz deserves mention for his Op 108, Sei Esercizt It is in three parts {Op. 271, 272. 273)- The most un¬ per la Sinistra Solo. Several Italians also have written usual combinations, the most daring, the most interest¬ The studies and exercises should be practiced very much for the left hand alone. Among them are very ing, bloom on every page of this original work; but to slowly, with the greatest suppleness and most complete master them one should have a technic complete and good exercises by Pollini; fantasias on Lucia by Perny, Semiramide, by Gobinelli; Robert, by Fumagalli.; The freedom of the arm and the body. One who has prepared himself by the careful and absolute. ’ . . , , . Puritans, by Ricordi; Trovatort, by Galdi; Semiramide, Less important and less difficult is a work bearing intelligent study of the exercises of Mason, Pischna, this signature: Exercises, Etudes et Exemples (Dur¬ by Lombardi. Virtuosos of the epoch of Thalberg, Dreyschock, Tausig, Philipp, Joseffy, MacDowell, etc., and applies and). Of the same sort, there are in existence four the same patience and care to the numerous technical important Studies After Bach (Fromont) and three Willmers and Doehler—the first named has written Variations on God Save the Queen and Variations Op. combinations in the works cited above, will show the Perpetual Movements After Mendelssohn, Paganint same resources in mastering the problems presented (Leduc).and Weber (Brahms), velocity studies of mod¬ 20 (Leduc, Nouveau Gradus, No. 86). Costallat has published a graceful Etude by Bovy therein. . erate difficulty. One ought to cite the Twelve Interest¬ Practice slowly, without stiffness, and with reflexion ing and Useful Studies by Maurice Moszkowski. Six Lysberg, and a very good one by Czerny (Op.753). Sidney Van Tyn, a Belgian composer, and Kundiger, —that is the best counsel to give. Studies, by C. Saint-Saens are masterpieces, as is all

Some Lax Piano Teaching of Other Days

1 Professor Francesco Berger, one of the best-known teachers of London, has just given the “English Monthly Music Record” the 1 1 following interesting account of some piano teaching of the ^.—Editor s Note]

of the celebrated Mr. N. N. at a very moderate fee. The teaching of pianoforte playing has immensely were ranged five pianos (not grands, for such were very rare in those days). At each instrument two stu¬ This drew many into his class, before they discovered improved during the last fifty years throughout the dents were seated, one playing with both hands in the that they were only entitled to ten minutes of his time. length and breadth of our country. Various causes treble, and the other with both hands in the bass. He His multifarious occupations compelled him to work have contributed to bring this about, into which it sat in the center of the room, on a revolving seat, from late into the night, so that, after only a few hours in is not intended to enter here. One is happy to know which he could easily turn to any offender, and shout bed, he often felt sleepy the next day. While giving that there are in our midst to-day many native pro¬ at her without rising. All the students played the same one of his brief lessons he occasioually indulged in a fessors whose ability is not surpassed by foreigners, set of finger exercises with both hands simultaneously, nap, and he had contracted the habit of calling out and whose excellent teaching is apparent in its results. he having indicated the pace before they started. The “forte” or “piano,” or “faster” or "slower” at intervals In the elementary department, however, there is still two players at each piano did so, of course, at the dis¬ in his sleep. On one occasion, when he called out room for considerable improvement, and many pro¬ tance of two octaves from one another, and exchanged “fortissimo” the sudden cessation of all music caused fessors of the advanced stages are frequently brought places at each lesson. “Now,” he would call, “are you him to wake up, and to his discomfiture he found, that face to face with pupils whose early instruction has all ready?” A chorus of “yes” was the response. while he had been dozing, the pupil had stealthily left been inferior. There still lingers with many parents “Then start when I give the signal; and mind, no the room, and he had been addressing a vacant chair. the mistaken notion that any sort of teacher is good shirking, no wavering, no stumbling, no stopping to On the death of a certain celebrated professor, a enough for their children while young, and that correct, and no resting with the left hand. If any one much older man at the time than I was, a lady, who there is plenty of time for higher instruction (with of you falls out, she must pick up the others as best very proudly proclaimed herself his pupil, applied to its enhanced expense) to come in afterwards. “She she can.” Then he stamped his foot, and they were me for lessons. She informed me that she had studied shall have a finishing master by and by” is the parents’ off. And for thirty minutes these ten were hard at it, with the great man for twelve years, and, at her first motto, and the “finishing” master finds there is nothing without any break. A stamp of his foot was the signal lesson, produced a volume of Beethoven’s Sonatas. I to finish, everything to begin. It is precisely in their for passing on to the next exercise, and the loudest asked her to play whichever one she preferred, and early days that pupils most require capable and ex¬ stamp of all meant “stop.” It was not altogether a she, of course, selected The Moonlight, observing perienced preceptors; time, labor and money would be bad method, from a purely technical aspect, though (dear romantic soul, she was quite 60), “I always think saved is parents were alive to this. coarse in practice and leading to coarse results. But it so poetical, don’t you?” Before she had proceeded Some of the methods that obtained in the past have, his bearish manner gave it an additional zest, and was far with it, I discovered that she could not play it the fortunately, disappeared; never, it is hoped, to return. part of the “advertisement” which brought in the least bit, and inquired whether she had forgotten it, Here is one of them. Ir. a certain town, the capital of money. or what? “Oh,” said she, quite innocently but loyally, 4 county in the Midlands, there lived, a good many Another professer, who in his day was quite in the “Sir A. B. never wished me to play. He always played years ago, a teacher who had "a splendid connexion,” front rank, did many other things beside teaching the all through the lesson himself, and said, that having not only in that town, but was highly thought of and piano. He was a prolific composer and editor, a con¬ heard how it should be done, I was musician enough much sought in the entire district. His system was ductor, a lecturer, a writer on music, an examiner, and to prepare it by myself.” She had paid him thirty shil¬ this: “He divided his very numerous pupils into a speculator in tours and theatres. He invented the lings for a lesson of 40 minutes, and had taken a weekly classes of ten each, supposed to be of approximately plan of giving lessons of only ten minutes, and intro¬ lesson for all those years! A clever man, this Sir equal advancement. In his handsomely appointed house duced it into several ladies’ schools, by which means A. B., and his method may afford a wrinkle to some (the door of which war opened by a liveried man¬ the school-mistress was able to announce in her pros¬ busy professor, how to get his practice at the pupffs servant) he had a large music-room, around which pectus that lessons could be had at her “establishment” expense.

’Oh, ye men! Act as ye feel; be free—then shall we feel healthily; produce art.”—Richard wagner THE ETULE THE ET UDE JANUARY 1919 Page 25 Page 24 JANUARY 1919 EVENING SHADOWS AN AUTUMN EVENING IRENE MARSCHAND RITTER REVERIE C.C.CRAMMOND, Op.llO A graceful drawing room piece, written in such a manner as to give the effect of a soDrano and alto Hu At. CraH« TTI. A tasteful nocturne by a promising young American woman composer. Grade III Andante M.M. J=7g__

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Copyright 1918 by Theo. Presser Co. British Copyright secured THE ETUDE JANUARY 1919 Page 29 THE ETUDE PRIMO

Page M JANUARY 1919 SECONDO

>>-— /hM*—is ,1: < J frfi FF^ 3ft-7- ? 0 —i— f— f- *f- ! > V th • | $7 ~ ;r; m E Mm p* THE ETUbE THE ETUDE JANUARY 1919 Page 31 Page 30 JANUARY 1919 MIRTHFUL EYES DANCE OF THE ODALISK MAURICE ARNOLD CAPRICE PAUL LAWSON A bright and cheerful teaching piece with excellent finger work Grade 11%

_ THE ETUDE JANUARY 1919 Page 33 Page 32 JANUARY 1919 _ 1 El MOM US ADAM GEIBEL NOVELETTE An interesting^umbeMn^modern Mmantio^style,by a favorite American write^Gra^e

PETIT SERENADE

Mr. R. Huntington Woodman, the noted American organist and composer, is represented in our music pages for the first time*. Petit Serenade is a re fined and expressive lyric, well worked out. Grade III.

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( opyright 1918 by Theo.Presaer Co. British Copyright •ec'1'*1 the ETUDE JANUARY 1919 Page 35 THE ETUDE Page 34 JANUARY1919 THE YOUNG SENTINEL MARCH MAT I LEE LOEB-EVANS A lively march in military style. Grade II ^ Tempo di Marcia M.M.J=136 a 4

1 4 Copyright 1918 by Theo.Presser Co. British Copyright secured

NOCTURNE EVERETT E.TRUETTE,Op.32 In modern lyric style. Cultivate the singing tone throughout and subordinate the accompaniment. Grade III.

Copyright 1918 by Theo. Presser Co. British Copyright secure THE ETUDE Tage 36 JANUARY 1919

ROMANCE F. CHOPIN, Op. 11 * from CONCERTO IN E MINOR Arr. by Frederic L.Hatch One of the most beautiful of all slow movements, arranged in an effective and playable manner. Gra e . ^ - Largfaetto M.M.J = 72 __5 ____-:—;-j^ s' ^ * j

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Copyright 1918 by Theo.Presser Co. i——- 1 i— -' --- <—"* JANUARY 1919 Page 39 THE ETUDE THE ETUDE Page 38 JANUARY 1919 11.Swell: Strings,Flutes 8'* 4' lyfY? TlT T A T TDM . \lI.Great: Soft 8'Diapason,or Flute 8' lYLUl± AA± J VAIN Transcribed by Rigistration: 11LChoir; clarinet jn the form of Variations MINUETTO PROM “DON JUAN’ JAMES R. GILLETTE W. A. MOZART M. MOSZKOWSKI. ' Pedal: Soft 16'coupled to I & ii on the .Hymn “Come Ye Disconsolate” An interesting treatment of the familiar hymn tune. A dainty and pianistic transcription of a famous classic. Grade IV. Intro.Andante m.m.J=72 A Allegretto M. M. J = 126 _ ~i 7 ^ ill

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mor - - tal Thy won-ders * a - dor - ing,As o’er the earth-: sink theshad-ows^of night, —HL His fee-ble light - ning and tem-pest be near me; E’en thro’ the hail and the snow from a - bove,-Loud in the h i xA.f-mj-j i.h. m cn k /a ■•(• jj -JrJJ) 1 mj m k /I-Jr L'*’! - ■ ■■ . nzr £<$*<< :--r ~~

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" jt z-i. ►*- ♦♦ prni-bxrg. , %i\i\ /< r 7=n?- JANUARY1919 Page 43 rmiruii THE ETUDE Page 42 JANUARY 1919 THE EDEN QE MY DREAM John R.Groves * —- American writer. A charming semi-sacred song, with an impressive refrain, by a popu ar Moderato

Copyright 1918 by Theo. Presser Co. International Copyright tec**** the etude JANUARY 1919 Page 45 THE ETUbl Mastering Things Page 44 U WARY 1919 By Louis G. Heinze SONG WITHOUT WORDS E.M.ROTHLEDER.Op.i It is the little things that count.. One relaxed, and listen to see whether thing at a time and never leaving it until your tone is even and full. A valuable study in the singing tone and in “double st.ops” A good recita number. it is mastered. Take one point from the 9. Expression. Moderate following lists and make up your mind Study all marks of expression, to master at least one for every lesson. accents, etc., at the very beginning When the following are mastered make 10. Tempo. up new lists or have your teacher do it Do not consider this until you for you. have learned the piece and you can No doubt you have triumphed over play it with the greatest ease. some of the numbers. If so, check them Composers off. When a new number is overcome, date it. When the following list has been mas¬ Ten Daily Habits tered, learn something about the style of each composer. Also the names of sev¬ PIANO 1. Fixed practice period. eral compositions. Let nothing interfere with your 1. Bach, John Sebastian, 1685-1750. practice time. Any time is often 2. Beethoven, Ludwig van, 1770-1827. none at all. 3. Chopin, Frederick F, 1810-1849 2. Look at the clefs. 4. Handel, Georg Friederich, 1685-1759. Sometimes the left hand is in 5. Haydn, Franz Joseph, 1732-1809. the treble clef. 6. Mendelssohn, Felix Bartholdy, 1809- 3. Signature. 1847. Know whether the piece is in 7. Mozart, Wolfgang Amadeus, 1756- major or minor. Run over the 1791. scale and chords in your mind and 8. Schubert, Franz Peter, 1797-1828. then play same, even if it be only 9. Schumann, Robert, 1810-1856. once. 10. Wagner, Richard, 1813-1883. 4. Time. Decide whether it is necessary to Musical Terms sub-divide the time. The following list of terms in refer¬ 5. Fingering. ence to the degree of speed are those If possible use no edition with¬ most generally used. When mastered add out fingering; but if you must, it new ones. would be good practice to write 1. Largo (lahr-go). Very slow. out the fingering yourself and have 2. Adagio (a-da'-jee-o). Slow. the teacher approve. 3. Andante (ahn-dan-te). Quiet, peace¬ 6. Counting aloud. ful. Counting to yourself (silently) 4. Moderato (mod-e-rah'-to). Moder- can be done only when the piece is mastered. Obeying the above will 5. Maestoso (mah-es-to'-so). Majestic; show you when your time is with dignity. incorrect. 6. Animato (ah'nee-mah'-to). Lively; 7. Practice slowly. with animation. Slow enough to make no errors. 7. Vivace (vee-vah'-cheh). Lively; Speed to be increased when rapid; with vivacity. mastered. 8. Scherzo (skert'-zo). Playful. 8. Touch. 9. Allegro (al-leh-grc). Quick; lively. Good finger action; all muscles 10. Presto (pres-to). Very fast.

Keeping Time with the Foot By Maso Brevoort Play It Over! It was a serious occasion—and a very has the marked drawback of diverting serious violin trio of Hadyn’s. But sev¬ the listener’s attention from the music. Pleasing to Player eral of the audience sat choking with A careful teacher, the late Mr. Hilton- suppressed laughter. And this was the Turvey, used to direct his students to and Those Listening reason: Each one of the three per¬ keep time with the foot, with this im¬ formers wore shiny, patent-leather shoes, umber This number is just the type the aver- portant proviso—that it should not in¬ [Fr°m age pianist delights to have in reserve for of what looked an abnormal length, and clude the shoe—i.e., that they should beat i end it is a most pleasing compositi each one was solemnly beating out the those occasions when called upon to en¬ tJ time inside of the shoe, with the foot cresc. difficult time with his foot, an-i in full, tertain a gathering of folks who only resting flat on the floor. Try it. It is uncompromising sight of everybody in appreciate piano numbers that overflow just as easy—and easier—to move the the hall. with melody. Can be used as e study The music was entrancing, but all that unobserved toes in time with the count, as to make the pronounced movement number and is also excellent for diversion some people were able to observe was at the keyboard. those long, shiny shoes, bobbing painstak¬ demanded by the other method. It is SSS ■* jT«i Sfr-jj!rir ingly up and down like marionettes to much more decorous, and really less Send twenty-five cents in stamps the music. trouble than the other way. And it has and one copy will be sent post¬ -1. paid by return mail. J |*J-p Now it is often advised, by teachers of this supreme advantage, that it does not r the violin, that pupils count the time divert the hearer’s attention from the ! THEODORE PRESSER CO. .1 T 1 T 'V ^ with the foot. This is practical, but it 1712 Chestnut Street Philadelphia, Pa. Keeping the Piano in Tune rm i n | j iJ7J3j j | j 4 n i TEACHING PIECES By MRS. A. M. VIRGIL As one goes into many homes .where to be a beginner, always hesitated and T "" ’ allarg. . ATTRACTIVE, INSTRUCTIVE-FINE FOR RECITALS there is a piano, he will very frequently lifted up the key after she had struck it. find it out of tune, even in cases of peo¬ She fell into this habit so completely GRADES 1 to 6. GRADED CATALOG ORDER THROUGH YOUR DEALER OR DIRECT . Jn. JT1111- i.Ji trr ple who profess a love for music. I that she stopped at that key, even when —rm .iT3r rm—rfli i —1—n once asked a mother why she didn’t have playing at a good piano. Yet her mother THE VIRGIL PIANO CONS. :: 11 W. 68th St., NEW YORK her piano, which was abominably out of couldn’t decide whether or not to have tune, looked over, and she replied that it repaired at once. A piano out of tune y~7SiS since her little girl was a beginner she “didn’t know the difference and could develops a defective sense of pitch. get along anyway.” Enough cannot be said, therefore, on the In another home I was visiting once, advisability of keeping the piano in good '*5 "i1 i was a piano which not only was out, tune and having it looked over several but one of the keys “stuck down’’ when times a year. One will find it pays in Copyright 1918 by Theo. Presser Co. British Copyright secured played. The child, who also happened the end. THE ETUDE THE ETUDE JANUARY 1919 Page 47 Page k6 JANUARY 1919 of power to obtain the given result, is know exactly what to want, and at the the great thing which both in the con¬ same time feel sure of getting it there ductor and the singer impresses us most. and then, is the highest and most ef¬ mSi It constitutes what we call magnetism, fective expression of mental dynamics.— because the effect is truly magnetic. To Clara K. Rogers. Department for Voice and Vocal Teachers EASTER MUSIC Against Direct Control of Vowel Forms A Selected List for Choirmasters It is a generally admitted fact that the Unfortunately, one rarely meets with Prepared by Experienced Teachers HE following selection is made up of new and ' standard positions or shapings in the mouth of students who do not interfere with the T vowels vary with the different pitches of free flow of tone vibrations in the upper numbers from our catalogue. Every number is a gem. “The Human Voice is Really the Foundation of All Music. RICHARD W tone. For instance, the form of any one resonating cavities by mouthing the Solos, Duets and Anthems all have the true festal ring given vowel—say, ah, would vary slightly vowels, and to this is largely due the In addition to our own large and comprehensive catalogue we have on every note of the scale. It is, how¬ numberless ineffective voices among those a complete stock of the music of all publishers. We will gladly Reading or Delivering a Song ever, not so generally understood that who are dedicating their time, energy and send for your examination copies of any music we have. when any of these subtle changes are money to a study of the vocal art. Why By Mary L. S. Butterworth resisted, the voice at once loses in char¬ is this? The answer, I believe, is that acter and clearness, and that resistance teachers, many of whom have made them¬ UPLIFTING EASTER SOLOS BRILLIANT EASTER ANTHEMS To-day, more than ever, the appropriate does exist when vowel-forms are made was written. He gives 3 message, and selves acquainted with the actual relative 12948 Christ Hath Risen. High. Much has been said and written upon the the color of your tones. In short, you are rendition of a song is needed. We de¬ in the mouth voluntarily or deliberately. positions of the tongue, lips, teeth and (Violin Ob.).Rockwell subject of “how to sing,” and many meth¬ to be the actor of this song, which bears it falls flat.” mand it because greater knowledge and The super-vocal forming of vowels in¬ 14798 Christ the Lord is Risen Began to Dawn.Norris Then, again, we hear so often the oppo- jaw, in the enunciation of the different Med.Delafield ods have been advanced. Even in the case character and color. enlightenment have been the result of volves chiefly lip, tongue and jaw actions vowels, as indicated by exponents of the 12830 Christ’s Victory. High. Neidlinger of the simpler songs the singer not only One must remember that singing is wide education. over which we can, if we try, obtain more rules for “visible speech,” are tempted, 10SQ1 “ “ lf.J sings a song for the pleasure it brings mental,-and not physical, and the effects * *“011, yes, he has all style and finish but, Some years ago I discovered the value or less direct control. But the different when a pupil fails to correct a faulty I Behold, I Shew You a Mys¬ him, but for the pleasure that it bripgs from the words are conveyed through the how pathetic 1 no voice 1” in reading the text of a song through in shapings, when brought about by direct vocal sound, to explain the mechanical tery .Camp The point I wish to bring to you is that to others. Besides, there remains the emotions, which, of course, are mental. order to get its correct interpretation. control are apt to remain fixed and un¬ adjustments for the different vowels. th is Vanquished.d. High. i Behold, I Shew You a Mys¬ the correct reading of a song is import¬ Neidlinger tery .Solly fact that he wishes to impress the hear¬ If you are to sing a dramatic song you It came to me because I had heard a cer¬ yielding to the requirements of the dif¬ This leads at once to an attempt on the i Break Forth with Joy. Dale. ers not only from a vocal standpoint but must imagine yourself playing the part ant and absolutely necessary if one wishes tain song was beautiful, and I had sung ferent pitches of tone, thereby preventing pupil’s part to deliberately make these Christ is Risen.Brackett from that of good style, interpretation to be classed among the finished singers. 16162 Easter Dawn. (New.) Med. Christ is Risen.Morrison with the spirit of all that is real. Imag¬ it and was not so impressed. One day I the free play of overtones which belong adjustments under the impression that he C. P. Scott Christ is Risen.Wolcott phrasing, etc. This is the true delivery of ination is the important attitude of mind We are living in an age of greater ef¬ took it in hand and read the words to the different notes of the scale. Thus is accomplishing a great thing. The 12721 Easter Triumph. High. Christ Our Passover.Shackley Shelley a song. here. So, make it strong in its appeal, ficiency in all things, especially in the art through several times, and when I went beauty and variety of tone are destroyed. teacher, doubtless, soon becomes aware Christ the Lord is Risen. 12722 •' “ Med. “ Gilbert So it is necessary to read the words of of music and song, and we must learn to the piano to sing it it seemed different All authorities agree that the produc¬ that the voice he is trying to develop is 12723 “ « Low. “ imagining the thing actually happening. 6330 Glory to God. High.. A. Rotoli 10604 Come See the Place... Avery a song carefully before one learns the This will please the audience, and natur¬ to establish ourselves in the things that to me. I got into the rhythmic swing tion of tone can only be at its best when deteriorating; that it is losing in balance 6321 . Med... 10666 Come Ye Faithful. musical composition, so that one may note _ . _ f- ,L. Percippe ally please you. To-day we call this “fine constitute the true art. through understanding the message of there is no interference above the larynx, and beauty, that it is growing daily more 6362 . Low.. . the meaning that the words are to convey. 8046 Hail Glorious Morn. Violin Day of Resurrection. art’’ in singing. It is the fine details that If you are singing a song in a foreign the words, and this brought to me the therefore, as forming vowels by direct and more monotonous and inexpressive; Ob. High.Geibel This serves to give the song its proper 8047 Hail Glorious Morn. Violin 10601 Death is Swallowed Up. are important in the delivering or read¬ language, and there is no English inter¬ finer message of the composition set to control provides a very positive interfer¬ but he fails, unfortunately, to attribute swing or rhythmic value, or balance de¬ Ob. Low.Geibel Marks pretation accompanied, then it will be quite these words. To me it opened up a new ence such practice should surely not be the deterioration to the right cause, so 12748 Hail Thou Risen One. High. 10237 Easter Even.Bohannan scriptive of that mood the composer was ing of a song. necessary to purchase a dictionary in this song. encouraged. We go still further and say sure is he that to make the correct posi¬ Ward-Stevens 10114 Easter Triumph.Brackett in when inspiration gave him the song. Reading or singing a song is like de¬ 12749 Hail Thou Risen One. Low. 16607 Glorious Morn, The. (New.) claiming a poem, and, of course, depends language, that you may learn what you I cannot speak with too much emphasis that any direct control anywhere inter¬ tions must be to obtain the correct W. H. Jones There is a message that is to be pre¬ 6891 Hail to the Rise I Lord. High. upon the interpreter. But in these days if are singing about. upon the reading of the words of a song feres with the coordinated action of the sounds 1 So he goes on urging the pupil 10891 Glorious Morn.Bird sented to the listener by the one who de¬ Harding 10163 Glory, O God.Brackett It is necessary and important to remem¬ Take, for instance, Brahms’ songs—which vocal parts, and coordinate action is un¬ to work for more absolute control by livers the song. So naturally one should one wishes to gain success and a greater 10487 God Hath Sent His Angels. ber that singing from tone standpoint is are difficult to the average singer—read deniably what we must depend on for still more strenuous practice of the wrong take the time to discover the true message reputation as a singer the reading of the one thing, and singing from the stand¬ and i eread the words, and they will throw free expression. thing!—Clara K. Rogers. by the conscientious reading of it. song is a necessity. point of interpretation is another, but a better light upon the interpretation or iolin Ob. After reading the song through several Very often we hear ti e following con¬ lackley versation in the way of either destructive both are necessary in order to constitute mood of the song. It will be easier for 8061 Light of Hope. High. times, acquainting yourself with it, you 8062 • •• • Low... the fine singer. you to learn it, and, therefore, will give New Opera Standards will have placed in your mind the picture or constructive criticism: 8337 Lord is Risen. High. Violin “Yes, he has a beautiful voice, but ab¬ Any student can aid his teacher by you more genuine pleasure in singing or Fifty years ago the young lady who at their own firesides raise their critical of it, and this will aid you to deliver the 5372 Lord is ' Risen.' ’ Low!L‘Violin learning intelligently to read the song, delivering it. could welter her way through “The ears many times a week and discuss the song with the right spirit. For instance: solutely lacks style and finish. He lacks Ob. 10390 I and the student can become more skilful In the true rendition of a song many a Battle of Prague” and come up musi¬ comparative musical worth of this or 9863 Resurrection Song. High. if it be a wooded scene this naturally the higher, finer art that is necessary, in his rendition while in class work. So mourner has found joy, many a heavy cally triumphant at the end of the that soprano. The deadly parallel is 10629 J< would bring to your mind a ramble in the therefore he is not interesting.” 8069 Risen Lord. High.Geibel many things are necessary in the art of heart has been lightened, and much gloom slaughter, was often considered a pi¬ the only test they know—for, like the 8060 “ “ Low woods. If it be an ardent love song, then “Yes, he is a good vocal teacher as far 8244 King of Glory. voice training, but it is the faithful and has been dispelled, the heart made lighter anist of no mean pretentions. Today photograph, the talking-machine is a 7692 Sing With All the Sons of Lift Your Glad Voi you would bring to mind someone that is, as tone is concerned, but as to style or Glory. Low.Mueller the diligent student that reaches his ideal, and the soul richer, for the message has the musical battlefield of the capital of reflection of the actual performance and 7142 They Came to the Sepulchre. or was, near and dear to you, so that you finish he is deficient, and his pupils 10242 Lord, MyMg GodGod. .. . and the heights of true artistry. The been delivered and. therefore, reached the Bohemia has lang syne been buried in it must be remembered that the artist High.Solly 10162 Morn's Roseate Hues. would sing the song to that one as though show it.” 5206 Victor Immortal. High. Berwald “Yes, it is pathetic—he has all voice and reading of a song in its broad and deeper one for whom it was intended. That the tangled underbrush of oblivion, and has a chance denied on the actual stage. Brackett 10376 Morn’s Roseate Hues. every word was meant for him. If it be 4716 Voice Triumphant. High. meaning is one of the important features “something” in us all is ofttimes touched a new standard for music students Marguerite cannot courtesy to the au¬ Bohannan a sad or somber song, this would bring no style or art. He would be a fine singer 10116 Passion and Victory.Dressier that you need to consider for your future at the sound of a good song. Music so has arisen. The young ladies of today dience and say, “Pardon, mesdames et 5202 “ “ LowStU,tS to you some moment in your life that was if he only had some style or art. One 6026 Sing, Gladly Sing. .. .Wodell advancement to the goal that awaits your sent from a good interpreter reaches un¬ reel off Chopin, Beethoven, Liszt and Stubs 10689 Sing, Ye Heavens.Starr spent in tears and was very real to you. misses the true interpretation that I know messieurs, I have sung very badly be¬ " ng of Triumph.. .Morrison earnest endeavors. known depths in many souls. Brahms in a manner that would have as¬ cause I had only two rehearsals today This, then, would show in the feeling or the composer had in mind when the song EASTER DUETS 10576 Thanks-i— Bi *- God ..Hotchkiss tonished the virtuosi of other days and 10874 Thanks B< and a bad dinner, but if you will be 10120 Thanks Bi__ made them scamper for their laurels. gracious enough to give me another 9447 10401 ’Tis Glorious Easter Mornidoming. The Acting Singer The Relation of the Singer to His Voice But the field of piano music is not chance I will do it all over again.” In !very Flower. (Sop. ' 'rosier Alt.) .Rock ~ wald A question seldom asked, although one the only one that has been invaded. 14381 am the Resurrect The time-old quarrel in opera has an entirely different- ——kind of' artistic instrument himself. With the upward the case of the talking-machine, the of vital importance, is, in what light Almost unconsciously the territory of Set, been between the school of opera per- exaction upon theperformer stroke of the baton he says, “Make ready!” singer has chance after chance, until 14403 I Why Seek Ye the Living. formers who stressed the vocal and Mr. George E. Shea.Jhe first Amen should the singer regard the control of and forthwith every instrument is ad¬ opera has been made insecure for the she has a record which she is willing vocal nonenity. This has been due to ignored the acting; and those actors can ...... -. Grand Opei his vocal instrumentality? justed to either hand or mouth. With to certify is the best she can do. the advent of the talking-machine. who have slighted the vocal side for TFrance,=,-~ has attempted to give th- .. In answer to this self-imposed question the downward stroke he says “Play,” and The result has been that artists know WOMEN’S VOICES suits of his life experience in a valuable In former years musical people were the dramatic values. suits or n.s rue “ I say: simultaneously with his signal he hears that audiences are extremely critical 10803 Alleluia. Alleluia! (Three Part).Brande upon rvcmig m , He naturally divided into those who had Now and then the singer appears book upon Acting in Singing. 1. The singer stands alone as an em¬ the musical strains which he intended to in this day and they must sing aston¬ 10805 Hosanna! (Two Part).Granie , • _ _s. o hasnas evidently learned much frcfrom the heard Patti, Jenny Lind, Mario, La- who is at once a great actor and a great bodiment of will. hear—the effect corresponding to the idea ishingly well all the time or their repu¬ gesture-loving Latins. His idea is that blache, Malibran, or such and such an singer. Such a one, for instance, was 2. He has to deal with a living organic in his mind. MEN’S VOICES there is a more or less plastic art of artist and those who had not. Often tations will suffer. The public knows 10804 Alleluia. Alleluia! . the late Tamagno, whose dramatic in¬ mechanism, made up, like most machines, The upward stroke of the baton may be .Brander gesture which can be set down in cate¬ to hear Patti, for instance, was the one this and there are continually other 10807 Behold, I Shew You .Solly tensity is still suggested by his re¬ of many different parts which act inde¬ gorical terms and it seems a little odd likened to the natural act of lung infla¬ treat of a lifetime. “Hear Patti, and die,” singers trying to supplant the estab¬ 10241 Christ is Risen. . .Minshall-Nevin markable Otello records. pendently of each other, but which must 10934 Hosanna! (New) learn that by throwing the hips to tion which precedes singing, the down¬ might have been the slogan of the lished artists. The result is a vastly inIn the present dayaay farrar moremuic attention . „ _A , niamr yet be so coordinated as to yield a unit 10806 Sing With All the S is given to acting than in former years, the right one may suggest, to a pplayei y ward stroke, to the signal for the coordi¬ musical enthusiasts of the day. greater interest in opera and a keen of sound in immediate response to the nated response of all the different parts What, however, is the condition to¬ game for the operatic singers—a more singer’s will. which go to make up that wonderful or¬ day? Caruso sings almost daily in ten fascinating operatic contest than the As the different parts of his vocal or¬ chestra of sound which we call “Voice.” million homes. Ten million Americans world has ever known. I HE GREATEST LOVE VIL1UKI U1VIINE gan bears some resemblance to a small Whether the music, as the audience By H. W. Petrie 75 cents By J. C. Marks It must be remembered, however, that may show Invitation My Lol*Jor orchestra, alike in the independence and hears it, in response to the conductor’s ooera is designed for performance in Thee”as well as insolent defiance. These the unanimity of their action, we may baton Strokes, be impressive, thrilling or Impediments to Good Singing DAWN OF THE KINGDOM I THE WONDROUS CROSS liken the singer’s control over his vocal By J. T. Wolcott 50 cents I By I. Berge 50 cents ^ large audUoriums" and that for inspiring, depends, 1st, on the intelligent By J. L. Wharton this reason a somewhat different and on elocution, but we agree with Mr. parts to that of an orchestral conductor interpretation of the score by the con¬ IMMORTALITY broader type of gesture is required. Shea that if actors would only think 1 over his performers. The conductor does ductor, and, 2nd, on his confident deter¬ There are certain things which the through the mouth when taking a breath By R. M. Stults __ so cenU From the long-distance range of the analyzing their parts in the light of the not tell his men individually what to do, mination to get what he wants just when singing teacher of experience knows and has an open nasal resonating area. To last row of the top gallery a gesture experience of great actors of the past, he only sees to it in the beginning that knows well can not exist if a good tone is Any of the above Publications will gladly be sent for examination he wants it. catch a pupil breathing-in through the that might be effective or unnoticed in they would evolve much that could be they are trained men, capable of doing to be expected in study work. Among The singer also must know what he in¬ mouth should mean an entire reconsidera¬ the front orchestra seats, would appear made to appear rational, forceful a all that may be required of them. these things to be avoided are:— tion of the case. extremely absurd. At the same time above all things, natural. Calve ■ hips This, then, is how the music results. tends to hear, and so must the singer A hard, tense expression of the fea¬ THEO. PRESSER CO. the artist must remember that those were very eloquent his The conductor, having first studied the also, in giving the signal—which we will tures. This means a stiff throat, and a A slouchy position. Watch the bearing who are seated near to him expect h.s Reszke s shoulders demonstrat.venh.s score, has made up his mind how he call “the vocal impulse”—have full con¬ stiff throat means a disagreeable tone. of the great singers you know. Note facial expression and attention to de- famous Mephistofeles Was .tart well 1712 Chestnut Street :: Philadelphia, Pa. wants the music to sound. He gives the fidence in the ready response of his or¬ Mouth breathing. Rarely is it found their alertness. See how they stand erect tails to be at least satisfactory. Acting, thought out, a la Coquelin, signal to the players, but he plays on no gans. This confidence, this conviction that the singing pupil who breathes without appearing stiff. therefore, in a great opera house, puts instinct. THE ETUDE addressing our sdvertltsra. THE ETUDE the etude JANUARY 1919 Page 1*9 Page Jtf JANUARY 1919 Drilling Backward Pupils in Rhythm May a Pupil Have Moods? “If I were speaking of his appetite for By Mrs. Irene Gray Huston The following is an extract from an the precise moment appointed for the les¬ food, instead of his aptitude for music, son, whether he feel in fit condition to article in the London Monthly Musical I should say his eyes were bigger than do so or not. It would never do for the Instruments of percussion are re¬ rests. With the first simple pieces, time Stacker Record, by Francesco Berger, a teacher his stomach, by which I should mean that piano yourself and asking them to follow professor, who has reserved a particular garded by many as just noise-producers, may be saved, by playing first on the you in speed, accent and weight. It is of high standing and wide experience. his abilities limit his performance, but hour for a particular pupil, to be put on but they may be used to great advantage drum, counting out the bass, placing the Style F Those teachers who regard the pupil as his intention remains unlimited. It is not a splendid way to get them to observe merely a money-producing machine, toler¬ from giving that lesson whenever the in teaching rhythm. Before the “musical accent on the first beat and observing variations of tempo. pupil felt disinclined to take it. Yet, a question with him of scales played able only by virtue of necessity, will find ear” develops, many children possess a rests and expression marks. The use of the drum will help, just in when the one is inclined to receive in¬ rapidly, nor of chords struck loudly, of GRAND Mr. Berger’s remarks an excellent cor¬ splendid sense of rhythm and this may be a very small way, to make the student struction, and the other is disposed to running all over the keyboard at a given cultivated and so much else pertaining to rective : Advanced Pupils realize that there are other instruments Only $2 for This give it, is just the ideal moment for both. rate, of rapid arpeggios, of ability to play piano work may be taught by the use of “Not long ago, in the middle of his les¬ Use the drum for teaching character¬ besides the piano. To introduce your “It is the duty as well as the agreeable the scale of C sharp minor ‘in double the drum, that one should be found in The quality of its tone son, a young man who is studying the istic rhythms of different dances, such Taplex Music Binder privilege of the teacher to do much for thirds from the top,’ or of G sharp minor every studio. pupils to different instruments will pianoforte with me suddenly threw up as the Polonaise, Bolero, Gavotte or enraptures the heart as its his pupil. By his enthusiasm for the sub¬ ‘in double sixths from the bottom,’ or broaden for them the whole world of Guaranteed satisfactory, too—or we re¬ his hands, closed his music, and rose from Beginners and Young Pupils Sarabande. In much of this music it is beauty of construction de¬ his seat, exclaiming, ‘I cannot play to-day, ject he is teaching, by his gift of making of chromatic scales in ‘double notes' in music. The writer has orchestra prac¬ fund your money without question. Holds it attractive, by his tact in discovering Very young children may be started the peculiarity of the rhythm that offers tice once a week in the studio and often 25 pieces of music—contains easy-to-use I ought not to have come for a lesson.* ‘contrary movement,’ or of ‘finger stac¬ the greatest difficulty to the student, so lights the eye. how much at a time the pupil can assimi¬ with the drum and learn much about the instruments are left there; it is sur¬ index—a permanent holder and file. Lies “I was surprised, and felt annoyed at cato,’ or ‘fore-arm legato,’ or of loose why not study that first, unembarrassed late, by happy illustration, by a judicious music before ever touching the piano,— prising how much interest they arouse. the moment; but on reflection, have come wrist or tight arm-pit, or of contracted by notes. perfectly flat on piano for playing—classifies admixture of stern exaction and encour¬ time, value of notes and rests, length of One wee fellow will look very longingly Schomacker Piano Co. to the conclusion that it speaks much for thigh-bone, or extended back-bone! Such Even in more classical music, a diffi¬ selections according to character or com¬ aging lenience for lapses, he can make the phrases and sentences, expression marks at the huge double bass and work very Established 1838 the Ynusicality’ of that youth that he technical jargon should be relegated to the cult measure may be found much easier posers if desired. No more loose pieces on lesson a pleasure or a penance to the from pp to ff; fz., leggiero, marcato and hard in hopes that some day he may be should feel he could not play except when nursery, or the workshop, or the surgery! by tapping out first the bass and then 1 piano or in cabinet. Philadelphia, Pa. disposed to do so, and I admire the cour¬ student. But it is also for the pupil to so on; and tempo marks such as accel., able to play that “big violin.” It has no kinship with art. It is as far the treble before attempting it on the Send for yours today. age with which he made the avowal. To do much for the teacher. Such a pupil from the musician’s calling as Niagara rit. and rail. Teach duple, triple and Any innovation helps to advertise the as the youth who admits ‘he cannot play piano. be able to play at all times; to have a tap is from a garden-hose; as far as ‘the compound time with firm taps for ac¬ teacher. Keep a drum stand and small to-day’ is the right sort for him. To Teachers TAPLEX CORPORATION ready which merely requires to be turned aurora borealis’ is from a cigar-match; cented and light taps for unaccented drum beside your piano. Even a child’s D. A. CLIPPINGER 1 teach such as he is a pleasure: seed sown Dapt.5M7W.34tliSt.N.Y. on, proves your performance to be purely as far as the rainbow is from a gas-jet. heats. Then show how these beats are Use light drum beats where you would drum would answer the purpose, but a Enclos'd find $2.00 lor Author of on such soil yields a rich, a full, a healthy mechanical, consequently wholly worth¬ "This youth plays like one who has ‘the marked on the music, and in this way otherwise use the metronome. side drum costs only three or four dol¬ ’ “ ‘ Binder as ad- The Head Voice and Other Problems, Price $1.00 harvest. On the days when he can play, less; proves you are not a bit ‘musical’ artistic temperament.’ He is not yet, may also teach the value of the notes and You may help pupils by playing the lars, and it may prove money well spent. Systematic Voice Training, Price $1.00 that pupil will more than make up for Prepares singers for all branches in the true sense. Only feeble mediocrity perhaps never arrive at being, the finished of professional work those on which he cannot. Like the sponge, is so constituted; every one with an artis¬ artist. At present he is still in his stu¬ 617-618 Kimball Hall CHICAGO, ILL. he will be dry and irresponsive to-day, tic nature must be subject to moods. dent days, and ‘Art is long and Time is but will absorb all the more to-morrow. "Unfortunately we are all the slaves of fleeting;’ but, as far as he has proceeded, English Folk Songs in Americi circumstances. The relative positions of As the teacher can cram half-a-dozen les¬ Compositions Arranged sons into one half-hour when so disposed, he is on the right path—the path along The England of to-day, curiously religious fetes lik^ that familiar peren¬ Icumen In” must have been prolific of teacher and pupil are a circumstance which all travel who bear the banner in¬ Mr. R. M. StuIts, so the pupil can take in a month’s instruc¬ enough, is not the best place in which to nial, “God rest you, merry, merry gentle¬ good melody, and there are many others, which makes it encumbent on the one to scribed ‘Excelsior.’ ” exact from the other, that he shall play at tion in one lesson, when he feels like it. hear the ancient English folk songs. men,” which is still sung in the poorer like “It was a Lover and his Lass,” “O England has been merely their nominal quarters of' some northern towns at Mistress Mine,” “The Three Ravens,” and home or habitat, and they passed into Christmastide. The songs were redolent “A poor Soul sat Sighing,” which show The Significance of Gluck in Opera desuetude, apparently beyond all hope of of the green countryside, and had nothing the fine quality of early work. But the any real revival, with the passing of many in common with those hymns or chants, their art did not care to see their laurels songs have never had a revival except in We are repeatedly told that Gluck’s performer had to Rembrandt’s Night another feature of Merrie England. Let filled with the egotism of n;*tional prowess taken without a hard fight. They put the dilettante limits of chamber music part in opera is a very vital one, but we Watch. In a Woodland Glade forth an Italian composer of ability, the battle fields of Flanders be the best or of conquest in battle, by which many are rarely told just why. Christoph Gluck’s earlier operas show some con¬ recital or fashionable drawing rooms, Nicola Piccini (1728-1800) and the witness to that. There the men of Devon nations love to proclaim their greatness. Wilibald Ritter von Gluck was born 1714 cession to the fashions of the time, but or Warwick, the sons of the fens, dales Thus, in that sense, the English folk songs and it is more than likely that it one operatic warfare which ensued «s one of weather carry a handy packet of at Neumarkt, and died in 1787. his innate sincerity and anxiety to create desired to hear among the people a once the amusing pages of operatic history. and wolds, are almost wholly strangers are not national at all. They are domestic Gluck was a gifted, talented master of artistic truth triumphed. In his opera and intimate, and that is perhaps the popular ballad like “Bold Brennan,” the The climax of the musical warfare came to the ditties of long ago, and are quite his art, but made no pretense to great Orfeo (produced in 1762) and in his content to sing little else than the catchy reason why these old ditties did not valiant and charitable highwayman, he BROWN’S Hf c. l BARRHOUSE, 0SKAL00SA IOWA when Piccini’s setting of Iphigenie was erudition in music. His main purpose following operas Alceste (1766) Iphig- vanish altogether with the coming ot the would have a better chance of hearing it produced in 1781, some time after the balderdash or trivialities of the music hall. BRONCHIAL in life was to make opera a matter of enie en Aulide (1774), Armide (1777) Yet England always has her hards and spinning jenny and the changing of Eng¬ by some Western campfire than by the great success of Gluck’s opera. The serious and earnest art and not a mere and finally in his great masterpiece minstrels. Kings and nobles kept their land from an agricultural into an indus¬ fireplace of an English inn. piece was not as great as that of Gluck, TROCHES pastime for the idle. When Gluck com¬ Iphigenie en Tauride (1779) he created court singers; while strollers, or jongleurs, trial nation. England ceased to be their England has always been credited with but it was a worthy work. Unfortu¬ These lozenges give surprisingly quick relief from LEABARJANSMFq. OO^^EPT.P*l menced to write his revolutionary operas, a style so new and so marked by unity heir, only to hand them involuntarily to being an unmusical country. But the term sore throat, coughing, hoarseness, tickling in the nately at the first performance the audi¬ as they were called, went about the villages throat, loss of voice and kindred troubles. operatic music had descended to the scale of purpose that thoughtful people imme¬ and towns singing the unwritten folk her daughters beyond the seas. The is purely relative. The folk songs had ence soon discovered that the prima Not a confection, but a safe, dependable remedy, of the circus. The audience went to diately hailed him as a prophet of a songs or ballads which still please with branches of the race that stretched out little chance of survival, not because of put up in little packets that can be slipped into a STUDY HARMONY donna was intoxicated. A wit renamed vanity bag or vest pocket. and COMPOSITION hear the performers do feats with their remarkable future. their simplicity and freshness. It was Sir beyond the waters for new homes took the peoples’ failure to appreciate them the opera Iphigenie en Champagne and No Need to Fear by MAIL ^“^'ToTur1' voices, feats very wonderful indeed, but Naturally so daring and earnest a com¬ Philip Sidney who confessed that the up the guardianship. The songs were musically, but because they were replaced the following ridicule ruined its chances Throat and Bronchial Troubles Allred Wooler. winner of Interna- which had about the same relationship to poser invited great rivalry, and the vocal ballad of Chevy Chase stirred him like conveyed within the hearts of the re¬ by the musical products of the towns. Four rim, 1}C, 3JC, 7JC & ft.3}. At all druggiitt. for even temporary success. art as the giant swing of the trapeze acrobats, who lacked in either phases of the sound of a trumpet. But it was not ligious refugees of the Mayflower; they The peasant, provided with songs from the John I. Brown SC Son, Boston, Mass. rates. Composers' M8S. com until the publication of Allan Ramsay’s went with the cavaliers who peopled the outside, lost the spontaneous impulse to ■4S2Sfd^.c»tJhS,,*'co.?SJ!a' ALFRED WOOLER, Mus. 1 “Evergreen and Tea-Table Miscellany,” sunnier, gentler climes of the South; they provide further for his own needs. But A 322 W. Uliea St., Buflalo. Handy Remarkable Discoveries Pointing to the Therapeutic Value of Music and of Bishop Percy’s Reliques, in the retired into the trans-Atlantic ranges of it is not too late to collate this precious Dependable Eighteenth Century, that a serious effort the Appalachians with the isolated Ken¬ legacy of song, from whatever part of 1 was made to recover English folk songs tucky mountaineers and small farmers; the world it is to ba found. Just as Ed¬ Winn Method popU|ar Musk By Dr. Leonard Keene Hirshberg, M.A., M.D. (Johns Hopkins) ALBERT ROSS PARSONS from the custody of the people, who for and they took refuge in that sea-girt ward McDowell wrote his “Indian” suite And Ragtime Piano Playing ages had handed down these folk tunes Devon, Newfoundland. composed of the original American melo¬ AuthorofTHE VIRTUOSO HANDLING OF THE PIANO¬ ered tension, or diminution of the blood Practical Ethical Academic When Keats sang that “music’s golden rasthenics and psychaesthenics, as well as and verses by the precarious medium of Hundreds of the folk songs of the past dies, so the composer is needed who can FORTE, J. H. Schroedsr, Publisher, 10 Cut 16th St., K. 7- tongue flattered to tears this aged man animals. pressure. oral tradition. have doubtless been lost to us because incorporate these English treasures of the and poor,” he could scarcely have fan¬ Various instruments of the laboratory The rip-snorting, noisy Toreador's Song, The folk songs of England were asso¬ systematic collection and classification was past in some popular and appealing THEY want to leam to play—Latest Popular however, yielded the expected contradic¬ Songs in full, swinging piano solo style for singing cied that so dignified a matter-of-fact or¬ such as the sphygmomanometer, the elec¬ ciated with the avocations of daily life, never undertaken. The age that could national form.—From The Christian and dancing. Employed by an ever increasing gan of scientists as the American Journal trocardiograph, galvanometers and the tion. The pulse wave became smaller and when they were not dealing with the great produce such fine work as “Sumer Is Science Monitor. body of progressive, enlightened teachers who v-- --.1 enjoying the gen- of Physiology would have opened its dig¬ tycos blood-pressure gauge were em¬ the pulse rate itself was quickened and accelerated the instant the song ceased. erous financial returns resu e therefrom. You nified pages to such an apparently friv¬ ployed by the Kansas students. i. We will help yo While it was being sung, however, the Learn Harmony and Composition Write today for propc olous subject as “The Influence of Music The musical numbers selected for the pulse wave was of large volume. Instruction Book No. 1 Instruction Book No. 2 on Electro-cardiograms and Blood Press¬ tests were the three: the slow movement What Kuhnau Wanted $1 Net 50c Net After the pause of this number blood ure.” from Tschaikowslcy’s Symphonie Pa- Yet that is exactly what has happened. pressure of both the heart systole and the they might do with it a little longer on on, one or another will chance to break On Sale Wherever Music Is Sold thetique; the Toreador's Song from Car¬ Kuhnau was Bach’s predecessor in the To discover precisely and in measur¬ pulse was definitely elevated. The Sousa post of cantor at St. Thomas’, Leipsic, the chance of such an instrument being his leg or sprain his foot, at least. Wilcox School of Composition Your Dealer Will Supply You men, and a rousing new Sousa march, able, scientific results the power of music march number gave the subject a slower and most probably the daily routine of for sale at a low price. Box E. 225 Fifth Ave., Now York City, N. Y. Sait Postvaid by the Publishers Receipt of Pri The National Emblem. Several other items follow of less inter¬ on the heart and arteries, in ‘.‘cardiovas¬ pulse rate, a longer pause between pulse his life was much of the same nature. est to the casual reader. Particulars r eg arcPlants ta jnaUed^on ^quest. As the subjects listened to the sym¬ 3. On the other hand, they are greatly of 10 Lessons forJ cular” disease, Messrs. I. H. Hyde and beats and an increase of blood pressure There is a “memorial” of Kuhnau’s in The “regal” and the “colochon” may be phony, the record proved that there is a in need of a good colochon, both for ‘Melody/’ the*b^Popular Music Magazine William Scalapino, of Lawrence, Kansas, of both the systolic and diastolic heart¬ existence, addressed to D. J. Alexander a mystery to some, so we hasten to ex¬ performed experiments, the results of slight depression of the pulse blood press¬ beats, as well as of the pulse pressure. school practice and for church use, and Christen, governor of the School of St. he again recommends Mark Buchner. plain that the former was an instrument which are announced in the April number ure and no change in the rate—which It is, therefore, plainly proven that the Thomas and burgomaster in office, calling somewhat like a small cabinet organ, but of the periodical just mentioned. means a relative worse in the oulse rate. power of music is not limited merely to his attention to certain pressing needs: 4. A sand hour-glass is much needed, with a different sort of reeds, whilz the Various kinds of music were tried and The depth or amplitude of the pulse wave, entrancing the sense of hearing: it has and the sexton has been frequently asked latter was a variety of the lute, resembling however, was increased. L The school violin is much broken, m f A Wholesome, Cleansing, the effects were observed and tested upon definite effects on the circulation, muscles, to see to this, but it does not appear that a large guitar. After a cessation of the symphony, Y HU V" Refreshing and Healing the heart and blood pressure of individ¬ adrenal glands, etc., which differ accord¬ and so ill-fitted for daily practice that he has applied for it. Think of the man destined to be the for from two to ten minutes, it was the small sum of one thaler and a few ® Lotion—Murine for Red¬ uals recognized generally among acquaint¬ ing to the character of the music. In¬ composer of the. B minor Mass, the observable that the blood pressure and 5. A board with nails is needed on which ness, Soreness, Granula¬ ances for their ability, genius, talent, or deed, it is within reasonable expectation 'foschen earned by following funerals Christmas Oratorio, the Matthew Passion tion, Itchingand Burning the pulse pressure were both lower, to hang the violins (in the right choir) fondness for music. that some time we shall be able to select nd set aside for repairs is insufficient for Music, the great Organ Fugues and the Eyes of the Eyes or Eyelids; whereas the rate of the pulse has gone its restoration. that they may not be laid on the floor. To “control” or measure these, com¬ music that could be given in prescription Well-tempered Klavier, falling heir to a _ After the Movies, Motoring or Golf parison of the records was made by hav¬ upward. Evidently the somber tones of will win your confidence. Ask Your Druggist to fit a corresponding emotional or dis¬ 6. Unless a new step is fitted in St. never-ending succession of petty worries for Murine when your Eyes Need Care. M-13 ing those known to be indifferent to or to the Symphonie Pathetique produced an eased state. Investigations along these A new regal is needed, the old one Nicholas’ for the Stadtpfeiffer to stand of this sort! Marine Eye Remedy Co.. Chicago dislike music; also emotional “nuts,” neu¬ exhilaration of the heart beat, but a low¬ being constantly in need of repair; still lines are to be continued. i-lease mention THE ETUDE when addressing E when addressing our advertisers. * the etude JANUARY 1919 Page 51 TEE ETUDE Have the Page 50 JANUARY 1919 The Crescendo Pedal »Vitality,Good Figure^ H of a Soldier p By Clarence Eddy p Notice our soldiers! How alert and active, eye* ^ . w, Sparkle, cheeks glow—striking examples of what you ' v:> _ and other women can be. I have been building up . ■ The use and abuse of the Crescendo can be no artistic blending nor shading of I ?oxbu“: Pedal would fill a large volume. No tone-qualities. At the same time this 4 teen years. Have helped & l American organ nowadays is considered mechanical contrivance is a sweeping and complete without it, especially our large powerful means of control, which, if modern instruments, but it is a labor-sav¬ properly employed, is a tremendous help Department for Organists ing device which is absolutely unknown to the organist, who presides over a large in the French organs employing the “Ven- instrument. Edited for January by the Distinguished American Organist til system,” which permits the prepara¬ When Father Finn and his Paulist 11 |l tion of a certain selection of stops in ad¬ Choir gave a number of concerts in the City Auditorium of San Francisco re¬ CLARENCE EDDY vance, and which are brought into use by ■ Jj§ means of pedals. This system demands cently, he was called upon to play several ‘The eloquent organ waits for the master to waken the spirit. DOLE far greater individuality in registration numbers upon the organ at short notice. An Ideal than the use of our wholesale Crescendo He had been in the habit elsewhere on Pedal, which brings on the stops in a similar occasions, of “drawing a few Medium-Size Grand gradual, but unvarying order, producing fundamental manual and pedal stops, and naturally a conventional and tiresome then letting the Crescendal Pedal do the The Importance of Rhythm in Organ Playing sameness of effect. Many organists re¬ rest,” but in the present instance he sort almost entirely to its use, however, “hunted around in vain” for the desired either from a sense of laziness, or lack Crescendo Pedal. It was, of course., in¬ By Clarence Eddy of skill in registration, with the result cluded in the original specification by the that everything they play sounds alike and builders, but when the organ was trans¬ horribly monotonous. ferred from the Festival Hall of the Ex¬ able to grasp the grandeur and possibili¬ otherwise is unmusical, stiff and mechan¬ position to the Civic Auditorium, “the A fine sense of rhythm is as rare as ness of proportion, and indeed funda¬ ical, whereas a slight retard or broaden¬ Learn to Combine the stops by Hand popular sweeping and powerful means of perfect taste in expression, but how sel¬ mental intelligence. They may, perhaps, ties of such an instrument, who has no ing of a phrase here and there, need not In the study of registration the student control” was eliminated to conform with dom do we hear a well-defined rhythmical find a certain (or very uncertain) swing sense of rhythm, nor ideas of form and necessarily throw the movement out of This beautiful instrument seems should absolutely refrain from using the the ideas and wishes of the official organ¬ performance upon any instrument, and and freedom of motion, but it is a free¬ proportion, but who is quite satisfied to balance, nor disturb its natural, rhyth¬ as nearly perfect as skill, experi¬ Crescendo Pedal, and learn to combine ist. Father Finn quite naturally felt very particularly upon the organ, while it is dom which does not justify the liberty “live and move, and have his being” in mical flow, provided, however, that a the different stops effectively by hand, or much embarrassed and hampered, and proverbial that singers are most notable taken, and usually results in perversion the realm of the fluttering Vox Hu¬ ence, and manufacturing facili¬ mana, the Vox Angelica, the Vox Celestis, proper proportion of the general outlines by means of combination pistons or ped¬ told the writer that he considered the transgressors in the matter of “keeping of musical ideas, eccentricity of perform¬ ties can make it. and all the other celestial voices, with is preserved. als, in conjunction with hand manipula¬ emission of this important accessory in time,” “How sad is sweet music when ance, or a deformity of style. Its tone is purely that of the tion, for only in this way can a true time is broken and no proportions kept.” sub and super couplers, and plenty of the so large an organ, a very great mistake, Natural Versus Exaggerated Expression Concert Grand, having great knowledge of stop-combinations, individ¬ Music without rhythm is like a painting Paderewski’s Rhythmical Mastery much-abused tremulant thrown in! His and remarked further that it was like an ear may have been tickled, or perhaps an¬ It is well known that the compositions power and sympathetic qualities. uality of character, and a thoroughly in¬ automobile without a clutch! without form or perspective. It may The value of an interpretation depends noyed, by the performance, but he surely of Chopin are interpreted by pianists with dependent control of the instrument be Another organist of considerable dis¬ have plenty of color and detail, but dike a to a very large extent upon its rhythmical a certain freedom of movement caled tem¬ acquired. When this is accomplished the crazy quilt it is ragged and lacking in cannot have had a single legitimate thrill, Dealers in Principal Cities tinction in the East paid a visit to San basis. When Paderewski made his first po rubato, and that some are even inclined Crescendo Pedal may then be utilized as symmetrical design. If I were asked to and naturally wonders why so much Francisco not long ago, and was privi¬ appearance with the Theodore Thomas to carry this freedom to a point of ex¬ an adjunct with increased artistic results. name the most important element in money has ever been spent upon so great leged to play upon the municipal organ. Orchestra in Chicago, it was my privilege treme exaggeration. There is always, how¬ Emerson Piano Co. But like the Tremulant, it should be used music, I would unhesitatingly say perfect an instrument, when a few of those He had had much experience in dealing to be present at the private rehearsal, ever, an underlying natural pulsation inhis Established 1B49 very sparingly and with much discrimina- rhythm, and yet composers as well as exe¬ with very large organs, both in this coun¬ and I will never forget the stunning im¬ music, which can be felt, and which Liszt cutants are woefully careless, or indiffer¬ . Boston Mass. try and abroad, but evidently was accus¬ pression he made. After the opening m * likened to the trunk of a tree which re¬ Church organists in particular fall into tomed to rely upon the Crescendo Pedal ent, in properly defining the throbbing movement of the concerto Mr. Thomas rA% mains firm and unshaken, while the top¬ the habit of drawing a few fundamental for his “convenience and comfort” in pulsations which give life and character turned to the orchestra and exclaimed: i < i: m ; / most branches are being more or less vio¬ manual and pedal stops, and then letting their manipulation. After repeated trials to a performance. The relative standing “There gentlemen, we now have some¬ 1 lently swayed by the wind. It matters the Crescendo Pedal do the rest, which is with this crescendoless instrument, he of artists in every branch of music may thing different!” The playing of this ■ Moller Pipe Organs certainly “the easiest way,” but it be¬ be estimated largely by their ability to not how furious are some of the pas¬ was so overcome by his exertions in hunt¬ great pianist was strong, virile, vital, wt ■■KHBHHHl Twenty-five Hundred in use. The highest grade comes exceedingly tiresome and uninter¬ demonstrate their greatest degree of r- sages, or how rapid are the tempos, there ing out new and sufficiently varied com¬ authoritative, irresistible. Every meas¬ instruments. Gold Medsls and Diplomas at Six esting before the service is over, because rhythmical perfection, after which clear¬ is invariably to be found a definiteness of binations to suit his purposes, that he be¬ ure and phrase was distinctly and intel¬ the increase and decrease of tone is al¬ ness, delicacy and accuracy of execution, m form, a positive rhythmical force, and a came ill with nervous prostration, and ligently defined, and his interpretation significance in each individual phrase. ways made in the same order, and there intelligence in phrasing and interpretation spL M. P. MOLLER Hagerstown, Maryland was laid up for weeks in a hospital! bore the stamp of a great artist and a The great thing is to discern these are the most important factors.' wonderful personality. It meant some¬ phrases, to properly define them, and not thing! pi STUDENTS PREPARED FOR THE Difficult to Exhibit Rhythm to indulge in senseless hurrying cr exag¬ Memoranda for Organists Example of August Haupt geration. By the nature of its construction, the Sound travels at the rate of about 1,125 Ascertain by testing its octave and its Church Service organ is the most difficult of all musical Most conspicuous in my memory of great organ playing were the extempor¬ Rhythmical Peeling Indispensable feet a second, and faster as the tempera¬ unisons and octaves upon other flue stops instruments for the display of rhythm ture rises. and Recital Work aneous performances, both in the free tel No amount of technical ability will that this filling effect is due to the sym¬ and accentuation; however, this can be Every building has its sympathetic and strict styles, of August Haupt, for p '4 compensate for a lack of well-balanced pathy of the building and not to any pe¬ successfully accomplished by means of a tone; in a church of moderate size it is culiarity in the power position or voicing finely discriminating touch, and careful although the organ in the Parochial rhythmical feeling. It is also a well- Church in Berlin where he played, was usually near to C sharp or D. of that particular pipe. Now strike the GUILMANT phrasing. There is no more reason why ! known fact that Chopin recommended utterly devoid of any of the modern appli¬ Organists should always ascertain the common chord staccato upon the great the organ should be played in “one long ■P the practice of Bacli as a mental and ances for expression—it had to be sure sympathetic tone of the building they are and pedal flue work and listen to the monotonous grind,” as is frequently done, technical preparation for the perform¬ three manuals and a pedal organ—but accustomed to play in. effect when the notes are abruptly re¬ ORGAN SCHOOL than for a pianist to keep his foot on the 11 ance of his own compositions, and it Over 150 now holding prominent positions there was no expressive department, not As to the method of finding the sym¬ leased. Try the cycle of common chords damper pedal throughout an entire per¬ would indeed be well if organists were even a swell organ, and there were no pathetic tone proceed as follows: Draw in like manner when it will probably be¬ formance. to follow this suggestion in their own • < ^ the pedal open diapason 16', and by try¬ come apparent that only one of the twelve The chief defect which lies at the bot¬ combination pistons nor pedals, yet by i studies, inasmuch as the greatest accur¬ his remarkable variety of touch, and skill m acy of manual and pedal technic is there¬ ing it up and down the chromatic scale chords will fully sympathize with the tom of a large majority of organ play¬ in the lower octave find the most respons¬ ing heard in churches or concert halls, in phrasing, his promptness in attacking Mr. Clarence Eddy. by required, and a more perfect and com¬ building, the remaining eleven losing their Organists—Be Up to Dat and releasing the keys, his absolute plete foundation could not possibly be ive notes—those which ring round the influence in proportion as they recede or and which renders it monotonous, char¬ “fancy stops” would do just as well. A building and have a special sense of full¬ Read The Diapason acterless, deadly dull, and even stupid, steadiness of rhythm coupled with his laid. The best of our modern composi¬ remove from the prime sympathetic tremendous spirit and energy in phrasing, similar feeling of disappointment is had tions for the organ are constructed pre¬ ness—selecting the most responsive one. chord.—(Thomas Ellison.) is a total lack of rhythmical feeling, when the organist indulges in the surging combined with an absence of appreciation and ability to keep things alive and mov¬ cisely upon this method, namely: a solid undercurrent of “Doubles” and “Sub- valoable^specK article*?‘etc?01 for recurring musical phrases. On the ing, gave me the impression not only of rhythmical and scientific basis. actual accentuation, but a life glowing Octaves,” or in the din and roar of the about our output. He re¬ contrary it is in the possession of these plied:— Wanted THE DIAPASON with fire and animation, and an inspiring “full organ,” regardless of any punctua¬ very characteristics, to a greater or less "After years of varied ex¬ More members of the congregation bigness of style. It was in every way tion, accent, “rhyme or reason,” and he Organists’ Salaries More members of the congregation extent, that the individuality of a per¬ perience, I say confidently, who will speak well of their choir, and great organ playing. Haupt never be¬ comes away with an unhappy feeling of who will compliment the choir on devo¬ former may be manifested, and his per¬ Is it or is it not true that the salaries that you cannot find any¬ will take the trouble to give them a com¬ All Built littled the organ, to him it was always having been wading in a sea of mud, or thing better than an Austin, tional singing rather than on their high CTEERE ORGANS sonality felt. of organists are exactly where they were pliment instead of a criticism. the “King of Instruments.” His tempos maybe with a headache. if you search the world.” notes, or their brilliancy. More clergy¬ ^ to Order for those who desire twenty-five years ago? When I began Members of a choir who are always in Strict Observance of Note Value were discriminating, effective and im¬ playing the organ I was paid $150 a year; Such encomiums are gener¬ men who appreciate the office of music in ously given us without so¬ their places in time, and who take pride the best, the smallest, the largest. pressive, and at times he reminded me “When You Have Nothing to Say, Say It’’ if my information is correct that church the church and who will think of the The trouble with most students who licitation. in always singing their best. of Hans Richter’s conducting of a Bee¬ This kind of so-called individuality of The J.W. STEERE & SON ORGAN CO. are deficient in the matter of rhythm and pays no more now. I am far from say¬ To award a contract with¬ More members of the congregation tunes as well as of the hymns when they thoven Symphony, which was broad and genius (save the mark!), may be com¬ Established 1867 Springfield, Mass. keeping time, is a failure to observe ac¬ ing that the best players do not get more out consulting the Austin who will listen to the outgoing voluntary; are selecting words adapted to their ser- deep as the ocean. pared to extemporizing when one has noth¬ curately and exactly the relative values in this year of grace than did the same Co., is to cheat yourself out for when musical people give their atten¬ ing interesting to say, or who is incapable of notes and their corresponding rests. class of players in 1890, for the standards of opportunity to see the tion to the concluding organ pieces More music committees who will vote a Richly Equipped Organ; Poorly of saying anything correctly or convinc¬ problem completely from ORGAN REPERTOIRE They seem to think that an approximate of organ playing in concert, at any rate, musicians will work them up better and sum sufficient for the buying of enough Equipped Player ingly, both of which are on a par with every angle Compiled by PRESTON WARE OREM observance of these things is quite suf¬ have risen much in the last quarter of a give finer selections. new music to keep up the ambition and Price. $1.50 It must be terribly disappointing to attempting to interpret the ideas of others I ficient, and do not for a moment realize century. But the ordinary organ player, More organists who will play in a way the technic of the choir. The chief object in this compilation has been anyone endowed with a sensitive and ap¬ when by so doing “their time is distorted who has, perhaps, taken his A. A. G. O. to cover the ground as widely and thoroughly the tremendous importance of being par¬ I Austin Organ CoT! and select only such music as will help More singers who are interested in the as possible, incorporating many novelties and ticular or taking pains, consequently their preciative nature, to listen to a really and the rhythm spoiled.” Many seem to and who can play a fairly good recital— original pieces as Well as some standard com- think that playing or singing out of time ^165 Woodland St. Hartford,, Conn. I the congregation to a higher apprecia¬ choir as a whole, and not simply in their positions and new transcriptions not to be playing lacks definiteness of purpose, clear¬ great organ in the hands of a player who is his salary what it ought to be?(H. G found in other collections. is a form of expression, and that to do tion of the service. own voices.—(H. G M.) ness and accuracy, fullness and round¬ is not only incompetent, but totally un¬ M.) THEO. PRESSER CO. Philadelphia, Pi.

Please mention THE ETUDE w n addressing THE ETUDE THE ETUDE JANUARY 1919 Page 58 Page 52 JANUARY 1919 will overcome the difficulty and awkward¬ tone. To produce and recognize this tone ness of the position. Grip firmly with is an excellent means of checking up on the ends of the third and fourth fingers all doublestops and improving faulty in¬ way over on the left side of the G string tonation ; furthermore, it is the only sat¬ and just forward of the G peg, while the isfactory manner of tuning two strings. thumb and almost entire length of the It is a matter of considerable comment first finger turn the peg. See Fig. VI. that too often pupils practice for hours to As stated before, the position at which perfect their playing and fail because of Department for Violinists the heads of the pegs stand will modify careless tuning; therefore, it is essential these hand positions, but, given some prac¬ that they devote much attention to train¬ ing the mind to hear correctly, and prac¬ Edited by ROBERT BRAINE tice, it will be found that no matter how they stand the pegs can be turned without tice patiently to develop facility in hand¬ taking the violin from the chin. This will ling and taking care of the instrument, “//• JH Would Play First Violin We Could Get No Orchestra Together. be recognized as a distinct advantage, for since these are fundamental requisites of in this manner the strings can be stroked good violin-playing. with the bow and the presence of beats detected and eradicated; furthermore, it is a graceful yid facile way to conduct Solving the Difficult Problem of Tuning the whole process. If the pitch is slightly flat, a downward By E. W. Morphy push in the peg-box close to the nut will OUR “SPECIAL” cause the string to slip up, while a pull violently. The E and A strings feed OCr 10 Tested Lengths, string; by vigorous bowing on both strings musical reputations to arrange in their anywhere between the bridge and the nut .To the advanced violinist the word contracts that pianos be provided that are onto their respective pegs close to the will lower the pitch. £D^S«lk Violin E, for 25c “problem” in connection with tuning the a 'fluttering noise develops which is fast properly tuned. Often it is a task to get right cheek, while the D and G should When the open strings sound smooth Send for Violin and Cello Catalogue violin may seem unfitting. One who has or, slow in proportion to the degree of the some tuners to do the work with care, for cling to the opposite side. See Fig. 1. and agreeable and seem free from beats, had the good fortune to begin violin discrepancy. When the finger is moved Now that the strings and pegs are in MUSICIANS SUPPLY CO. it is not unusual for them to leave the complete the test by touching in double- 60 Lagrange St., Boaton, Maas. study at an early age gradually acquires so that all fluttering ceases the interval Fig. V. pitch where it has settled from atmos¬ good condition, watch the bridge when¬ such skill in the care and management of is said to be “dead.” stops the harmonics which are caused by pheric changes and simply “smooth it up.” ever tuning, for, unless it is kept perpen¬ his instrument that he sometimes does not As soon as the mind is trained to accu¬ The D string is tuned to the A string dividing the strings exactly in halves. It is indeed a pleasure to find a tuner who dicular, it will fall with a force sufficient appreciate the late beginner’s predicament. rate observation of beats, the attention to sound the interval of a fifth lower. They can be found by placing the hand is sufficiently interested in music as an art to crack the top of the violin. A safe Notice to Studious Violinist It is possible that one may not remember must be directed to a correct and satis¬ way to adjust the bridge is to hold the Grip the entire scroll with the second, in the third position and extending the factory pitch. A satisfactory pitch has third and fourth fingers while the thumb fourth finger into the fourth position let¬ violin in the lap, put the first and second Would you like to know more about been a moot question for-years, but our fingers of the right hand under all four and first finger do the turning. See ting the finger rest lightly on the strings. serious symphony orchestras have at last the King of Instruments? Then- strings close behind the top of the bridge Fig. IV. If the tuning is perfect one will hear not established the vibration rate of 440 vibra¬ and, while gently lifting up, push it into For the G string, stick the tips of the only the pitch of the two strings an octave SUBSCRIBE TO tions per second for one lined A; the A place. second and third fingers with a gentle grip higher than when open, but there will be to which the violinist tunes. This pitch is $H°-The Violin World.n^2 To continue, let the novice get the pitch into the peg-box, while the thumb and not the International pitch, which is 435 a third tone which is an octave lower than The Monthly Magazine of Education from his tuning-fork and tune the A vibrations for A, but is the one more first finger turn the peg. See Fig. V. the lower tone of t;he perfect fifth which published 26 years by Experts. string in unison with it. This can be done widely known Philharmonic pitch and The E string is somewhat more treach¬ is being touched by the finger. The third by bowing on the string, taking the violin is favored by the American Federation of erous, because it is up to a high tension tone is the so-called Tartini-tone, and is AUGUST GEMUNDER 82 50N5 down from the chin each time the peg Musicians. This pitch of A=440 causes and the peg is so situated as to make it also sometimes referred to as a resultant- needs to be turned with the right hand. 141 West 42nd Street just enough tension on the strings and difficult of access. However, practice tone, combination-tone, or oifferential- Better still, the process for all the strings Fig. VI. ' NEW YORK, N. Y. sufficient vertical pressure on the bridge can be accomplished with the left hand, V._J to bring out the maximum power of the Tightening the Bow instrument. A pitch too high causes a without moving the instrument from the Violin students frequently ask how called, invented the inwardly instead of violin to scream, while if too low the tone chin and without pushing the head of the and bouncing effects. When the bow is VIOLIN STRINGS much the stick of the bow should be outwardly curved bow, he revolutionized is lacking in brilliancy and carrying violin against some object. Professionals screwed up for playing there should artists of the Philadelphia Orchestra screwed up for playing. No answer the art of violin playing. This curve was power, for the strings rattle on the finger¬ are very skillful in this free manner of always be a certain amount of the inward which will fit all cases can be given, the true “lucky curve,” and made vio¬ t«SL,Jhv'loili:dS5Sd ss board and sink under bow pressure. The turning the pegs, and it is primarily to curve of the stick still left. If the stick since so much depends on the stick of lin playing as we know it today possible. pitch question settled, let the student pur¬ help the student to acquire this trick that is too limber or has become straightened he is recommended to have properly the bow. A stick which is extremely Previously to Tourte, bows had been chase a tuning-fork and use it. Uniform¬ by neglect, the bow should be discarded, limber, or which has lost its curve ity and constancy of pitch is considered a fitted pegs. made with practically straight or out¬ through not having been unscrewed after and a bow which is stiffer and properly healthful thing for a violin, for it is gen¬ To turn the A peg, place the first finger wardly curved sticks like an archer's bow playing, must be screwed up much tighter curved procured. No greater nuisance erally agreed that frequent and violent of the left hand on the left side of the or a barrel hoop. The bow with the THEO. PRESSER CO. - Philadelphia, Pa head, while the thumb and second finger than one which still has this inner curve inner curve makes it possible to produce can be imagined than a bow with an changes of tension effect and retard a extremely limber stick. It is impossi¬ violin’s growth. There are players who attend to the turning. This position is or is of stiffer wood. A safe rule would a much greater, more solid, and steady ble to do any good playing with it. argue that one must be able to play to any also used for the E string, depending be to tighten the stick just sufficiently tone, and to do all manner of spring¬ pitch because conditions demand it, but upon the set of the head of the peg. See to prevent it grating on the strings when ing, bouncing effects in a dependable man¬ Spohr, the great violinist, in writing Indian Melodies this state of affairs exists because these Fig. III. Fig. II. playing with full strength. Many of the ner which would be impossible with the of the bow, said : “For solo playing the for musicians are too disinterested to insist It sometimes happens that the head of cheaper bows are much too limber, and outwardly curved stick. bow must not be screwed up too much, to take pride in putting a piano to the cor¬ just how he learned to use a knife and on having things right. Our successful the A peg is in such a position that it is the stick has to be tightened until it is This being the case, it is evident that but only so tight that the stick, in the VIOLIN and PIANO rect pitch and making it fit for artistic fork with ease, nor does the experienced concert artists take no risks in their pub¬ best to stick the tips of the second, third straight before a full tone can be pro¬ the violin player who plays with the middle, with moderate pressure, can still By Thurlow Lieurance purposes. and fourth fingers into the peg-box and duced without the stick grating on the stick wound up straight or “humpbacked” violinist always consider how he devel¬ lic appearances; they either use their own be pressed to the hair. For orchestra The student should next investigate the do the turning with the thumb and first strings. Some people are so ignorant loses all the advantage of Tourte’s great The melodies used in these transcriptions oped facility in tuning. The beginner of pianos which are tuned correctly, or they playing the bow must be drawn tighter.” are genuine Indian themes, all recorded advanced years is the one who learns that are enough interested in protecting their condition of his violin pegs. These finger. See Fig. III. concerning the bow that they screw up invention, the inwardly curved bow stick. In conclusion the teacher should con¬ and taken down at first hand by Mr. the instrument is not unlike the little girl should be made of good wood, preferably the stick until it is not only straight, but As a rule violin students and even pro¬ stantly impress on the pupil the neces¬ Lieurance during his frequent visits with the little curl, for when it is bad it is ebony or rosewood, and fitted with the "humpbacked," and leave it thaf^way, so fessional violinists play with the stick among the various tribes. The accom- horrid; especially in damp weather it can utmost care. Nothing causes more dis¬ that it acquires an outward instead of an screwed up too tight. By this they lose a sity of loosening the bow after playing. paning harmonies by Mr. Lieurance are act almost diabolically. . couragement or loss of time than to inward curve. It is needless to say that certain amount of the power of the bow If this is done a good bow will retain designed to enhance the naive eloquence One reason for so much bungly tuning struggle with poorly fitted pegs and with no good violin playing can be done with to draw tone, and a great deal of the its inner curve permanently. # Countless of the original melodies and to aid in such a bow. When Franqois Tourte, the ease with which it is possible to execute good bows are ruined by being left creating the necessary characteristic is the student’s inability to distinguish the strings snapping down through their atmosphere. correct from incorrect tone-pitch. Then uncertainty. For a few dollars a skilful Stradivarius of the bow, as he is justly the spiccato and all manner of springing screwed up constantly. again, violin tone is not always easy to Every Violinist Should Have This repairer will see that the pegs are neatly Interesting Suite. analyze and control, due to the fact that fitted and are of the correct size. Too Like A Bathing Beach the fundamental is mixed with a large Price, 90 cents much of the surface of the peg must not The ideal violin school must be like a same manner a first-rate violin - teacher necessary to follow the same prescribed percentage of its upper partials; hence the Ji Liberal Discount always allowed the 'Profession come in contact with the wood of the peg- good bathing beach, with a gradual slope enables his pupils to make rapid and solid course for all. I always aim to choose brilliancy. To discriminate between two THEODOR E PRESSER COPhila., Pa. box. A peg with a neat and reasonably far out to the deep water. The average progress because he chooses his teaching studies and compositions which will tones which do not agree is the first small stem or shaft will turn with greater school is like many beaches, where there material with consummate skill, in every requisite and to acquire this he must di¬ build up the pupil at his weakest point. ease than one that is large and bulky. is a gradual slope for a few feet, and then case adapting it to the pupils’ needs. Dif¬ rect his attention to-what is known as Some players prefer large pegs because the hapless swimmer is popped into a deep ferent works and studies are used, so as Build Up Weak Points “beats.” This phenomenon gives about the An Excellent Violin Number they claim that the greater amount of sur¬ hole far over his head. Such schools re¬ to give the pupil exactly what is required same impression to the mind as period¬ Different pupils will be found to he Tambourine Ballet by F. P. Atherton face makes them more secure; however, if mind me of the story told of an old pian¬ at the moment. It is this which makes it ically stopping the ears while a tram is weak in different branches of the violin PRICE 60 CENTS the strings are properly attached to small ist. who had never given a lesson in his so difficult to study the violin without a passing. It is not the same acoustical art. One pupil is weak in intonation; he This little number in Oriental style is a Violin and pegs they will give better service and life, but who consented to give his little teacher. The self-taught student does not Piano piece that will please both performer and hearer. cause, but the sensation to the hearing is should be given much work in scales and look neater. If the peg holes are too know how to choose the best material for THEO. PRESSER CO. Philadelphia, Pa. not unlike it. It is a distinct flutter. mece> who was just beginning, a few les- srpeggi in all keys, especially in the minor large they can be bushed, which will al¬ his particular needs, and what to take up When produced on a violin, at first beats s°ns- ( He commenced something like keys. John Philip Sousa, the great band low for pegs of smaller circumference. this: “My dear child, these white keys-are next at each stage of his progress. are not easily recognized, especially by a leader, advised young hands to spend With the pegs in good order the strings In teaching I do not follow a cast-iron phlegmatic ear. To hear them distinctly C, D, E, F. G. A, B; the black keys are must be fed onto them in such a manner course of certain books, studies and some of their rehearsal time in playing it is suggested to use a viola with its the flats and sharps; we will now take up as to slightly chafe against the inside p:cces. always in the same order, in the the minor scales in unison to help their in¬ longer and larger strings. Take the fourth the study of a sonata by Beethoven.” cheeks of the peg-box. This friction helps manner in which general branches are tonation. Another pupil has faulty bow¬ finger D on the G string and play it with An eminent physician performs re¬ to hold the strings up to the right ten¬ taught in the public schools, for instance, ing; he should be made to devote much the open D string making the finger tone markable cures, because he knows just sion without having to push the pegs in Fig. IV. where, on account of the great number of practice to technical bowing exercises, carelessly flat or sharp with the open Fig. II. what treatment to prescribe for each pa¬ tient and what medicine to give. In the pupils to be taught at the same time, it is (Continued on page .56.) the etude THE ETUDE JANUARY 1919 Page 55 Junior Etude Competition for HONORABLE MENTION January Florence Clemans, Helen Smith,- Pa¬ tricia Marie Hoban, May Elizabeth Tor¬ The Junior Etude will award three rence, Bertha Lotz, Ruth Young, Phyllis pretty prizes each month for the best Cassidy, Virginia Sullivan and Patye original stories or essays, answers to puz¬ Sensing. zles, and kodak pictures on musical subjects. Subject for story or essay this month, Puzzle Two Stradivariuf “My New Year’s Musical Resolution,” and The following words may all be spelled must contain not more than 150 words. on the piano keyboard : Write on one side of the paper only. 1. To put together. Any boy or girl under 15 years of age 2. A proverb. Violins CZftti) may compete. 3. What aviators wish to become. All contributions must bear name, age 4. Something to hold things. and address of sender, and must be sent 5. A decoration. cMasterpieces/ to “Junior Etude Competition,” 1712 6. A small ornament. Chestnut Street, Philadelphia, before the 7. To ask. Two-century-old creations from the hands 15th of January. 8. A small child. of the inspired master—each “a thing of The names of the winners and their 9. What is generally checked. contributions will be published in the 10. A prison. beauty and a joy forever.” And both prized • March issue. _ 11. A vehicle. exhibits in the famous Lyon & Healy collec¬ ? ? Who Knows ? ? SOMETHING I SHALL NEVER 12. A vegetable. tion, of rare violins. New Year’s Day Long Ago Music FORGET 13. An affliction. In this notable collection there are other 14. An article of food. ' The Bible has a great many references 1. Who wrote Elijaht When I was just four years o'.d I .instruments of extraoMparyJone and intrin-, January first certainly has had a lot When you say “music,” of what do 2. What is syncopation? 15. To blot out. to music and musical instruments. Do awoke one Christmas morning to find, sic quality that range’ in ’price from $100 to of responsibility thrust upon it on account you think? Probably of pianos and 3. How many symphonies did Beetho- with my other toys, a little piano. 16. A passing fancy. you recall them? $14,000. Catalog will be sent on request. of resolutions, has it not? Well, if you singing and bands and phonographs and It was two feet tall, contained three 17. To eat. The Chinese wrote books about music have any resolutions to make this New pianolas, all of which are very civilized 4. What is an interval? octaves, and was artistically painted 18. A part of the body. Year’s, by all means make them, and by and up-to-date, are they not? But what as long ago as 3000 B. C. 5. Name two operas by Mozart. white. On the front was a picture of a 19. Part of a boat. all means keep them. about ancient times—do you not believe In Egypt music is known to have 6. What is a lute? little boy and girl. The boy was playing 20. A chip of wood. Thawing by experts But after all, why should one wait until existed seven or. eight centuries before 7. Who is called “Father of the a violin, the girl a harp. This piano was New Year’s Day to make resolutions? that music has always existed-, ever since Christ, and probably longer, and the Symphony” ? given to me by the superintendent of the Answers to November Puzzle Your violin, worth hundreds or thousands, If you have a fault that needs correc¬ the world began, or do you think it is 8. What is meant by “transposing at public school. 1. B-each. should be entrusted only to artists, such as tion, correct it when you discover it, no a modern invention? carvings on the monuments show many sight"? Ever since that day it has been my am¬ 2. N-atom-a. matter what season of the year it may Music, in some form or other, has varieties of instruments. we employ, if it needs repairs. Cost esti¬ 9. When did MacDowell die? bition to play well and become a musician. 3. Far-rar. happen to be. mates cheerfully and promptly furnished. existed at all times all over the world, 10. What is this? When I began to take music at twelve 4. Chad-wick. Perhaps you are going to make a reso¬ in civilized and uncivilized countries, and my thoughts were often of the “White 5. P-owe-11. lution to practice your full amount. Make has always been , and always will be a Piano.” 6. Had-ley. that resolution to-day, or to-morrow or necessary form of expression to man- I am practicing diligently so that my 7. Home-r. yesterday, but do not continue with your Answers to Last Month’s ambition may some day be fulfilled, and 8. Sa-mar-off. ityon &]{enly bad habit because one January first has To our ears uncivilized music, and the "Little White Piano” is my inspiration. 9. W-are. gone by and the next one is not here yet! Questions Sylvia Levy (Age 13), 52-69 Jackson Boulevard The time to make such resolutions is probably most ancient music, would 1. Beethoven. 2. Puccini (libretto by Tar boro, N. C. Honorable Mention in the fall at the first music lesson, but sound ugly and disagreeable, but to the John Luther Long). 3. Passing from one > Chicago ears of its creators it is beautiful. The Pauline Gorlin. if you have any resolutions to make, key to another through related harmonies. SOMETHING I SHALL NEVER uncivilized and primitive music has very John Corwin. whatever they may be, make them, and 4 1809 5. Francis Scott Key. 6. A chord, FORGET strong accents, and is made mostly by the tones of which are played successively Roberta Rook. make them for keeps, and keep them We, the people of this generation, lis¬ instead of simultaneously. 7. More mo¬ when made! drums and rattles, so to these people ten to the music which has been com- . rhythm is more important than melody. In all these discoveries nothing has tion (faster). 8. A stately Polish dance Faces and Hands ever been found to prove that there was in 3-4 time. 9. Tonic, super-tonic, mediant, posed by the great artists of long ago with praises and cheers. Their names any system of writing the notes down— subdominant, dominant, submediant, lead¬ No doubt you have often heard it said Humor in Music are honored, respected and spoken of people would sing and play until others ing-tone. 10. French horn, that no two people are alike; and it must Don’t you just love to have a good everywhere. It seems that we cannot learned “by ear,” and then they in turn be true for there is an endless variety in Looking Forward laugh? What is there better for cheering give enough praise to those great com¬ human nature and countenance. ETUDE would teach others—so, of course, we one up and making one feel happy and posers of years gone by who gave up Did you ever think how strange it is ambitious than something that is “Simply have no idea what this ancient music Junior Etude Blankets their lives to music, that it might help that—we all have two eyes, a nose and Ever So Many Fine ETUDE Friends Have screaming?” sounded like. Some people think that The blankets are really a great success, their fellow-men, and who lived and died a mouth—there could be so much differ¬ Now, of course, music is a serious it must have been very ugly and queer, and we thank all the contributors, for in poverty. Many of those composers ence in countenance? Written Us Time and Again thing, and it takes years of earnest hard while others say that there is no reason their generous help. The third blanket died broken-hearted, thinking they had It is just the same with our hands. We “l ALWAYS LOOK FORWARD TO THE ETUDE” work to become a good musician, but then to doubt that it was very beautiful. was placed on a transport for the com¬ failed because no praise was ever given all have two thumbs and eight fingers, but to them while living. So something that * That is just what we are working hardest to do, to make THE ETUDE so inviting there is lots of fun in music; and we all Some of our museums have on exhi¬ fort of the' returning wounded soldiers. how different they may be and how differ¬ every month that our readers will look forward to it. I shall never forget is to praise, respect need cheering up sometimes. bition very ancient instruments. They Squares have been received from Florence ently they must be trained. Let us plan for every club or class to Mintzer, Ilelen Ntcht, Helen Scbinke, Miss and honor the great composers of to-day, You may think that you are obliged to Here are some things in the February ETUDE we re generally small, and could be easily Algier, Miss R. Rood, Virginia Thompson. that are well worth looking forward to. have a humorous meeting some time in Helen Reeves. Ruth Steele, pupils of E. M. that they may know that their great work practice more than your share of scales,, carried about. is appreciated; that they might not die February. Wilson, Frederick E. I'hler. Ruth E. Benni- but that is the fault of your own hands. WHAT HAS HELPED ME MOST IN MY CAREER ? son. Homer I. Filler, Kenneth H. M. Filler, broken-hearted, only to receive their If you belong to a chorus, have the Louise E. Filler. A. and F. Fenger. Anna Your hands need scales and your teacher praise after they have passed away. chorus sing funny songs. There are lots Wannsted, Cora Chase. Louise Powell, is aware of the fact. Other hands may A series of personal letters to THE ETUDE from prominent artists who have had a Bertha Quier, Ethel M. Baker. Eloise Arnold. Eleanor Peterson (Age 13), struggle to get ahead. Don’t you want to know their secrets ? They are— of very funny ones that are easy to learn, K. B. Melton, Olive I.lndeman. Ada F. Boos. need an extra amount of five-finger ex¬ Esther G. Prideaux, Clara E. James, Winni- Thatcher, Aris. ercises or octaves. your music dealer will give you some fred Arrnold, Helen Johnson. Ruth Steele, David Bispham, Most Famous of American Baritones. suggestions. Alice Lersch, Fannie Good, Loralne Arnold. Do not grumble because you must Rose Vondries, Ruby Curtis. Irma Ibel. SOMETHING I SHALL NEVER Rudolf Ganz, Distinguished Swiss Pianist. If you have any members who can sing spend ten or fifteen minutes more a day Louise McGee, Edith McGee. Virginia Buniet. FORGET Mable Garrison, Prima Donna, Metropolitan Opera, New York. solos, have them give something humor- Vera Hudson. Lucy Hudson. Gladys look, on certain exercises than some of your Anna Mae Flanigan. Faye Mayer. Hilda Beil, The “Glorious Eleventh” is a day I friends. They, no doubt, have to work Florence Hinckle, Noted Concert. Soprano. Harryetta Hoffman, Nellie Rnsli, Clara Bean shall never forget. The impromptu pa¬ hard on some other things that you may Takami Miura, Japanese Prima Donna. Between the numbers you might have Rush. Agnes V. Smith, Patricia Marie Honan. Branda .McCann. Marjorie Walker. Lott rades, wild shouts of joy, waving of flags, do easily. Yolanda Mero, Eminent Pianist. some of the members who can not take Walker. Charlotte Barger. Marjorie Bell. and thrilling music made a most vivid Some hands are slow-moving and de¬ Oscar Saenger, Famous Teacher of Singing. solo parts tell some musical jokes. Kyra Mills, and Ellzala-th Fleming. (The list will be continued next month.) Picture that can never be erased. How- liberate, like some people. These must Yes, jokes. Why not? Plain, ordinary Reinald Werrenrath, the Metropolitan’s Newest Star. Babylonia and Assyria sound very ever; did we stop to consider the part be trained to limber up and “keep in funny jokes (only, of course, they must In Greece the music was apt to be ®usic played in realizing the ideals of the trim” as it were, and the scales and exer¬ A Lesson on Beethoven’s C Major Rondo ancient to us, and yet they had music, relate to something musical, and be sure combined with poetry and acting, and Letter Box world ? Yes, music was a great factor! cises act as “setting up” exercises. Mr. Constantin von Sternberg, the well known Russian American teacher of piano¬ that they are funny). and no doubt good music. On the old that is really where the drama had its . First, it was used to aid recruiting, and Then some hands are delicate and cap¬ forte and friend of great musicians the world over has prepared an analytical lesson Then, there is the toy-symphony. Have monuments of these countries have been Dear Junior Etude:—As president of upon this very interesting piece. It is one of the most instructive we have yet had origin, about 500 B. C„ but, of course, the “Little Musicians’ Club” I write to tel! ■aspired men to enlist. It followed them able of great speed, but have no power you ever heard or taken part in one ? found carvings representing instruments the privilege to present. no one knows what those old songs were you about our club. We meet every two to camp, and formed a large part of their or grasp. They must be treated i,uite For instruments you have rattles, whis¬ of various kinds as well as people like, either, as only the words were writ- weeks and study one composer each time amusements. Singing while hiking short- differently. ETUDE Subscription Price Slightly Raised tles, rubber dolls (the kind that squeak, singing. and play his compositions. Our teacher aied the miles. The greatest talent ob- And then some hands have the habit of It has become imperative to raise THE ETUDE subscription price from 31.50 to you know) toy drums, tin horns and all also gives us lessons in harmony. amable was gladly received both in the stuttering, others stumbling; some strik¬ S1.75 a year, an advance so slight in consideration of greatly increased costs that it sorts of things. With the first money we had in the kainmg camps of America and Over ing two keys at once or doing other seems insignificant. This raise will take effect with the January issue. In order that You can get these toy-symphonies at here. It was these men for whom music clumsy things; some are stiff and some our friends may take advantage of the very unusual character of th * tteasury we decided to subscribe to The new features now ready for 1919, we will until Dec. 31, 1918 re your music dealers, too, and they are easy mucb, that won us victory. are weak. ceive subscriptions Etude, as we thought it would be such dating either from Dec. 1st or from Jan. 1st at the old rate, (31.5( ) instead of 31.75.) to get up and just “packs” of fun. A Happy New Year to All Our Little Workers a help to us in our work. We get great May the spirit of music, as the spirit of So that with two thumbs and eight Your teacher will help you with the pleasure from the puzzles and articles that emocracy, live forever in the hearts of fingers there is endless variety, and the ‘he people. ETUDE Theo. Presser Co., rehearsals. Try it, and maybe you will Music Will Make It a Happier Year appear in The Junior Etude. scales and exercises are intended to de¬ Publishers think of something else for your humor¬ Mabell O’Brian (Age 11). Helen F. Metz (Age 14). velop" the hands and enable them to be¬ PHILADELPHIA, PA. ous meeting. Springfield, Mo. Albany, N. Y. come good, capable piano players. TEE etude JANUARY 1919 Page 57

Page 56 JANUARY 1919

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UNIVERSITY EXTENSION CONSERVATORY .. _ . CLARENCE EDDY, Dean IlUnr BAYNERwi THE ETUDE fUE ETUDE JANUARY 1919 Page 59 Page 58 JANUARY 1919 Organ Music at Weddings Students’ Jolly Sleigh Ride . h,:-m : ..... Told at a Musicale By William Reed Important and New “Americans Over the Top” By M. E. Keating The taboo which is being placed by a Grand Choeur in D—Guilmant good many organists and others upon the A REMARKABLE BOOK (Shortened) large music box he had placed in the performance of the Mendelssohn and We were invited one winter’s day to Festival March—Arthur Foote corner of the parlor. The music was Wagner wedding marches is an encour¬ Wedding Hymn—Huntingdon Wood¬ Music Publications meet at the home of our music teacher Not Sold but GIVEN for ONE Yearly sweet and full of charm. (Music No. 11.) aging, if a somewhat belated move. I man and requested to be there early in the The farmer then wanted us to play some do not refer to the national considera¬ Marche Triomphale—Archer Subscription to THE ETUDE morning. After we arrived, we were VOCAL, VIOLIN, ORGAN AND games, so we played “London Bridge,” and tion urged against these pieces, but to Military March in D—Schubert greatly surprised to see a large sleigh (Not Your Own) had a great time, for nearly everybody the nature and make-up of such banal (Arranged by Best) OTHER WORKS SELECTED and fine team of horses waiting there to fell down before we finished the game. stand-bys as they have become. Triumphal March—Beethoven A 64-page book with an attractive cover in colors. The book is pa¬ take us many miles in the country, to (Music No. 12.) The farmer then led That their perpetuation (and perpetra¬ (“King Stephen”) FROM RECENT PUBLICATIONS per bound and is ten by fourteen inches m size. 1 he wor d war and spend the day at a large farmhouse as the way upstairs to the attic, and we fol¬ tion) at weddings has been largely owing (2) Use also bright, march-like move¬ OF THE THEO. PRESSER CO. the work of “Our Boys" and Allied Soldiers is exhaustively treated. guests of an elderly couple who lived lowed him. It was a cosy little place, to convention cannot be gainsaid. Some¬ ments from any source. there. After we jumped into the sleigh, and there sat his daughter, Priscilla, thing, however, must be allowed for the (3) Arrange for yourself marches writ¬ Contains T«,enJy-f°ur_Maps S the driver cracked the whip, and the spinning and singing at her work. influence of association—a circumstance ten for small orchestra. Some | VOCAL MATERIAL | (Music No. 13.) While \»e were watch¬ horses started on a run to the jingle of or quality which is strongly prejudicial excellent ones are to be found. Artistic Vocal Album Standard Song Treasury Western Battle Front are given The last mentioned map shows vanous ing the lady spin, the farmer said: to impartiality at all times. the merry sleigh-bells. (Music No. 1.) (4) Write a bright march on your own A Collection of Songs Price, 60 Cents battle lines at different stages of the war up to March 21st 1918 Other “Listen” and we heard cuckoo! cuckoo! Consider these two marches. Low Voice Price, $1.20 mano :n J.tail the Italian and vanous battle fronts and also show As we rode on, Jane called our attention account. Use that. This is a fine collection of songs chiefly The large cuckoo clock on the wall Apart from the two arresting chords It is a collection of songs especially Austria, European-Turkey. Bulgaria, Roumania, Serbia and Montenegro. to a number of little snowbirds standing adapted to the low voice, including all of for the middle voice, both sacred and secu¬ downstairs struck six o’clock. It was which start its main theme, there is but lar, and is printed from special large on a street comer. In Birdville they are For Preliminary Wedding-Recitals. the most popular songs In the original high plates. It consists largely of the works of Profusely Illustrated time to think about going home. (Music little in Mendelssohn’s march, as a whole. Overture to “Stradella”—Flotow voice edition. It is a splendid collection modern writers, but includes some selec¬ called “street urchins.” She threw .a No. 14.) After eating some supper, wc Nor, probably, did 'the composer intend tions from the standard writers. The small piece of bread at them and we saw ( Arranged by Buck) songs are mostly of the intermediate reproduced in colors and illustrations explaining the insignia as used to desig¬ put on our wraps, and when we were more than a fairy-wedding jingle—and Selections from “Hansel and Gretel”— Graded Studies in Sight grade. It is just the book for general use. nate the rank of officers in the United States Army. Navy and Marine Corps. a great battle. (Music No. 2.) As we ready to go, the farmer, his wife and it amounts to little else. For if we elim¬ Humperdinck Singing were leaving the city, we could see many A Revelation to the Vocal daughter sang. Good-night Little Folks; inate the Fanfare, the Coda, and the for¬ (Arranged by Lemare) REMEMBER THIS BOOK IS GIVEN AWAY WITH ONE skaters in the distance, gliding gracefully By G. Viehl Price, 90 Cents World Come Again. (Music No. 15.) As we mulated material of the section in F, but Andantino in D Flat—Chauvet over a frozen pond. What a pretty jumped into the sleigh wc could hear little substance remains. The War A complete and up-to-date sight-singing By E. J. Myer Price, 60 Cents YEARLY SUBSCRIPTION TO THE ETUDE AT THE Overture “Jubilee”—Weber method. Sight-singing in all its phases, Years of experience, not only in singing sight it was! They were having such a the evening chimes ringing sweetly from March from Athalic shows itself as being (Arranged by Best) presented In the most Interesting and and in teaching, but in examining first REGULAR SUBSCRIPTION PRICE OF $1-25 (CA«.^?A) good time. (Music No. 3.) Up in the the church steeple not far away. (Music much superior and, even in face of its thorough manner. There is a section de¬ sources, writing books upon the subject, Toccata in G—Dubois voted to miscellaneous selections of all listening to great singers and talking with air we saw the snowflakes turning and No. 16.) The sun was setting in the title, of a sufficiently joyous nature. So, Andante in G—Batiste kinds for amusement. Just such a book as them, have placed B. .1. Myer, the author west and tinted the mountains and snow is needed for schools, colleges and for of this book, in a position all his own. .■llllllllllllllllllllllllllllllllllllllllllil niniiiiniHiniifi whirling as they said good-bye to the why not use that march sometimes ? Nuptial March No. 1—Guilmant cool, gray clouds in the sky. They soon with purple and gold. It was a beauti¬ Wagner's march, on the other hand, is Overture, “Oberon”—Weber The Volunteer Choir found us, and danced gaily on all the ful sight. (Music No. 17.) The golden entirely un-nuptial in character. In its The Village Blacksmith (Arranged by Warren) Anthem Collection Price, 30 Cents The Victory of Faith rosy cheeks in the sleigh. (Music No. 4.) stars came out one by one and lighted up stage setting it appears appropriate and Cantilene Nuptiale—Dubois ' By W. H. Neidlinger Price, 48 Cents Anthems that have met with unqualified On and on we rode and came to a steep the dark-blue sky. We saw the “North¬ in a certain sense refreshing. But can it Madrigal—Lemare A cantata for mixed voices. This setting approval and success have been placed in ern Lights” in the distance. They of Longfellow’s famous poem Is full of this nominally priced collection. Tire Anthems hill. Everybody was scared for fear of be described otherwise than as a junction Notturno—Mendelssohn color and striking choral effects, with a favor that this volume has gained Is tumbling out. We had almost reached seemed to dance all over the sky. (Music of two weak tunes, of which the second (M. N. Dream) few incidental passages for solo voices. largely due to the fact that these singable No. 18.) We finally arrived at our This cantata serves as an excellent twenty anthems are well within the ability of the the end of it when one of the horses (and the better one) has often of neces¬ Some of the larger offertoires—Batiste minutes of vocal work for the repertoire average choir. There are twenty-two an¬ slipped, fell down, and lost his shoe. teacher’s home in the city and were all sity to be omitted ? As a marching stimu¬ T raumerei—Schumann of any choral society. thems in the collection. for We had to jump out then and walk the very happy, we had such a pleasant time. lus, also, the Bridal March is a palpable Largo—Handel rest of the way. In the distance we saw Before parting we sang (Music No. 19) failure. (Arranged by Whitney) | VIOLIN WORKS a large building and when we arrived Home, Sweet Home. The Jolly Sleigh There is certainly a remarkable dearth Processional March—Scotson Clark Bel Canto Method for the Indian Melodies for Violin Peace there we found, to our great surprise, it Ride will always linger in our memory of organ music written ad hoc for wed¬ Marche aux Flambeaux—Scotson Clark was a blacksmith’s shop. The driver led as one of the pleasantest events of our ding performance. Yet, if our organists Clair de la Lune—Karg Elert Violin and Piano the horse inside to be shod. (Music lives. rummage through their repertoires, much Cantilene in E Flat—Callaerts By Mabel Madison Watson By Thurlow Lieurance No. 5.) We then jumped into the sleigh (Here follows a list of the pieces material will be found (though otherwise Pastorale in G—Wachs Price, $1.20 Price, 90 Cents Services and started off again. We rode by a played to illustrate the story.) designated) that is suitable for wedding Wedding Music—Jensen Positively the most elementary method large wood and could hear the hunting ever written for the violin. It Is the prod¬ These melodies arc taken direct from occasions. And the gradual introduction Paque's Fleuries—Mailly uct of rears of experience with young native sources and the arrangements are horns of a merry party of hunters, call¬ Music Program of su:h would, in supplanting the worn- Menuetto—Boccherini students and is thoroughly practical and genuine transcriptions, not paraphrases. Any of the numbers here ing each other in the forest while hunt¬ 1. The Jolly Sleigh Ride (with whip, up-to-date. The material is all as attrac¬ Mi. Lieurance has been very successful in out Mendelssohn and Wagner marches, (Arranged by Lemare) tive as it is possible to make It and will harmonizing the various Indian tribal listed will be found specially ing game. (Music No. 6.) At last we bells, horns, etc.).Lindsay constitute the thin end of a very desirable Carnaval Overture—Dvorak be found very pleasing to young students. melodies for practical use by the musician. arrived at the old farmhouse, but before 2. Snowbird’s March... .Hannah Smith wedge, cheer the jaded organist, and l ring (Arranged by Lemare) adapted for services of going inside, we peeped in the windows 3. The Skaters’ I Fait:.Rolfe him his fee just the same. Etc., Etc. | ORGAN COLLECTIONS! Peace or Thanksgiving. All and saw an old lady sitting in a rocking 4 .Snottf Flakes .Brounoff What then is to be played? chair near the fireside. She looked happy 5. Jolly Blacksmith (with anvil) Harris Look through the following suggestions, Seeing that the entrance of a bridal American Organist Organ Melodies are of real musical value but and we could hear her singing a song. 6. Merry Hunting Song (with horn), Mr. Organist. You will easily find mater¬ party usually occupies but a short space Gems for the Pipe Organ (Music No. 7.) We tapped on the win¬ Price, $1.80 of intermediate difficulty. Rolfe ial to add to them. of time, the organ part is apt to be re¬ Complied by C. W. Landon dows, and when she saw us she called A collection of organ compositions by (1) War March (Athalie)—Mendelssohn stricted to a matter of some 16 or 24 Price, $1.20 Particularly brilliant is the her husband downstairs and he came out 7. By the Fireside.Benson American composers. All the numbers are Tannhauser March—Wagner measures of ordinary tempo. chiefly of intermediate difficulty and cover A veritable mine of good things for the to welcome us, singing a joyous song. 8. Happy Farmer .Schumann busy practical organist. Not a dry or “Victory of Faith,” by Coronation March—Meyerbeer If, therefore, some suggestion of Men¬ practically all styles. A wealth of mod¬ ' She joined in with him.. (Music No. 8.) 9. Fire Little Scotchmen.Sanford tedious number in the book. Some of the Marche Triomphale—Lemmens delssohn’s march- is specially desired, the erate length Voluntaries and Recital greatest melodies ever written arranged as Berwald. After taking off our wraps and getting 10. Playful Kittens .Lawson Pieces, such as organists are always in preludes, postludes and offertories. All March in B Flat—Silas main theme (without the Fanfare) would are of moderate difficulty, suited to the warm, John, the hired man, was called need of. will be found ift this volume. The 11. The Music Box.P°ldinl Epithalame in E—Salome fill this gap. Otherwise, some bright average player and adapted for two in to play a Scotch bagpipe for us. The volume Is of the convenient oblong shape. manual organs. 10342. Song of Peace. Sullivan .10 12. London Bridge, etc.Lawson Marche et Cortege—Gounod march-like theme of corresponding length 10119. How Beautiful Upon the music was fine, so we clapped long and 13. The Spinning IF he el.Elmenreich (Reine de Saba) would suffice. Mountains. Wolcott.15 5958. Song of Victory. Berridge .15 loud. (Music No. 9.) John then told 14. Cuckoo Clock Polka (with cuckoo) Festival March in D—Barnes But let us, as often as possible, avoid | THEORY- BIOGRAPHY | 10183. Lovely Appear. Gounod .OS 10095. To Thee, 0 Lord. us to follow him, and we were soon in van Gael Marche Pontificale—Lemmens using the two conventional marches. For, Berwald....I5 a large barn. He showed us a family of Harmony Book for Child’s Own Book of Great 10008. Our Country. Whiting .15 15. Good-Night. Little Girl.. . Cramm (Shortened) verily, it is time that both bridal parties kittens that made their home in a ton ■ ■ Musicians 15579. Victory of Faith, The. and organists were treated to a change. Beginners 10004. Praise the Lord, O Jer¬ of hay. We found them very playful 16. Evening Chimes (with chimes), Triumphal March—Dudley Buck Bach, Mozart, Schubert, Mendelssohn, Schumann, Berwald.I5 \ Hems By Preston Ware Orem Price, $1.20 usalem. Darnton.10 and friendly. (Music No. 10.) We did Handel, Haydn. Beethoven, Chopin and Wagner 17. Sunset in the Mountains. -Metzler This book is “brief, simple, vital, prac¬ By Thomas Tapper not have our wraps on and became very A Damper 01 Enthusiasm tical, new, and distinctive.” It presents cold, so we had to return to the warm 18. Golden Stars H alts.Behr An enthusiastic young man sat down in struments of the orchestra and their char¬ the ground work in the plainest possible Price, 18 Cents Each THEODORE PRESSER COMPANY house again. The farmer wound up a 19. Home. Sweet Home. the train beside an old gentleman. The manner, covering thoroughly the first These give' the stories of the lives of the acteristics, the old gentlemen pricked up great composers in very simple language, 1710-1712-1714 Chestnut Street young man had just been to the concert his ears and listened with what looked year's work, and affording ample prepara¬ and instead of having the Illustrations of the famous French Symphony Orches- tion for advanced study according to any printed in the book, sheets are supplied, to like keen interest. be cut and pasted In the book bv the PHILADELPHIA, PA. tr?> and he was bursting to share his joy method. It is adapted for either class use Use of Piano in the Orchestra “About the bassoon, for instance,” the or private instruction. It is an admirable child itself. Facts and quotations are in¬ Wlth a sympathetic soul. He began by cluded, as well as a place tor the child's We are not speaking at present of piano Regiment, and in our own day, Victor young man said, flattered by this sudden work for self-help. own story to be written. Pouring out his raptures over the artistic show of attention, “it sounds like a jack¬ concertos with orchestral accompaniment, Herbert used it in The Prima Donne in a phrasing, the mellow tone, and the beauty Music Masters, , Old and New ass braying—I suppose, sir, you’ve heard nor on the other hand of the only too most original manner. of the compositions. By James Fr ancis Cooke Music Teacher’s Class Book well-known use of the piano to bolster Berlioz, in his lyric melodrama Lent, The old gentleman listened in a silence a jackass bray-” Price, 60l Cents A little pocket note-sized volume, bound in boards that takes the place up the deficiencies of small orchestras in used two pianos (each two-handed) or that gave no clue to his innermost feel- “Yes,” the old gentleman replied calmly, This collection of unique biographies is one that will he read with delight bv all but cuttingly, “I am listening to one The romances of music, the interesting bil a. the human nature, the eharm of music which part of the proper instrumentation producing a harmonious rippling effect »* lngs. But when the young apostle of itself, are all included in tire most fascina ting manner. Best of all, the work takes is lacking, but of its intentional use as an an accompaniment to a “chorus of aena music went on to speak of the various in- in composers about whom very little is pi lblished in current works in America and 3-A ledier 4-Sheet music account.ot S-Teacher’st,me f°r ,e’SSOn account about whom all active musicians want to know. integral part of a full orchestra—a thing spirits.” and Saint-Saens in his Answers to American Composers in Puzzle Guise which occurs so rarely as to be worthy phony in C minor used a “piano 4 han s 712 CHESTNUT STREET and 'sales many a dollar which mi&ht otherwise go ^counted/or. of notice when it does occur-. (two players), as well as the organ ’ In the November ETUDE Theo. Presser Co Theo. Presser Co., Philadelphia Mehul used it in his comic opera Unc connection with the orchestra, wl v Xo- 1. Herbert; No. 2, Root; No. 3, Mason; No 4 DeKoven (deck oven) ; •f PHILADELPHIA, PA. Price, 60 cents 5. Cadman (C add man); No. 6. Carpenter; No. 7 Sousa (sues A), No. 8, Folie, Donizetti in The Daughter of the charming effect. Homer Bartlett; No. 9, Parker (park R) ; No. 10, Foote (12 in ches). Please mention THE ETUDE when addressing our advertisers. Please mention THE ETUDE m addressing our advertisers. THE ETUDE fBE ETUDE JANUARY 1919 Page 61 Page 60 JANUARY 1919 Album of American Composers Hymn of Praise Spaulding Album New Year Reductions Difficult For the Pianoforte Symphony Cantata For the Pianoforte Four-Hand Album In Magazine Prices This new collection will contain repre¬ By Mendelssohn _ Mr. George L. Spaulding u one of the Important Elementary We take pleasure in announcing a col¬ The list below contains but a few of the sentative piano pieces by all of the best- This fine choral work by Mendelssohn most popular writers of easy and inter- lection of four-hand music of the upper many money-saving clubs that The Etude known American composers. It is a patri¬ is especially appropriate for a perform- mediate grade pieces for the piano In Materials for the grades, but not out of reach of the aver¬ otic duty, at this time, to play the works has arranged witli other magazines. By age player. . We have no collection of this of American writers, and pianists will find „nce by choral societies during the coming this new album we are Including some nf ordering these clubs, substantial savings kind in our catalogue and we now have, every composition in this collection well season. Although originally written for a his best intermediate grade pieces These may be made. A few more are listed on Busy Teacher begun active preparation on a volume of worth serious study. All of the pieces are celebration of an anniversary of the dis- pieces are in various styles, including this inside back cover page, and many attractive advanced four-hand music. ''e musical gems, chiefly of intermediate and covery of the art of printing, tiie text is various dance forms, marches, and rever- hundreds in our new 32-page Magazine aright is the intend to make every piece count in the f in. the beginning . To this moderately advanced difficulty. Such com¬ peculiarly suited to peace celebration or ies, nocturnes, etc. Our special price in Guide for 1919, a copy of which will be certain works are indiB eatable. volume, and nothing will be put in this posers as James H. Rogers, Wilson G. other occasions of festive character. The advance of publication for this new volume sent upon request. irst of all a good Primt Will be needed: volume that has not been tested thor¬ Smith, E. R. Kroeger, Chas. \V. Cadman test is taken almost entirely from the will be 25 cents per copy, postpaid. Further advances in magazine prices are oughly. The music will not be of very and others are represented. The special in¬ Scriptures; the music throughout is jubi¬ announced for the coming Spring, there¬ A PRIMER OF FACTS serious classical nature, neither will it be troductory price in advance of publication fore we urge readers to place their new of trivial nature, and there will be no very lant and festive in character. Our special L’Art du Clavier ABOUT MUSIC is 50 cents, postpaid. introductory price is 25 cents per copy, By Theo. Lack, Op 289 and renewal subscriptions through The long and extensive pieces of overtures, but Etude without delay. Questions and Answers on the postpaid. . . ’ F’ 407 Elements of Music Music-Teaching Supplies 5^' Sf “"d »wm Paul Wachs’ Album I his is a new and valuable modern te'ch- NEW WORKS. The etude. * By M. G. EVANS Price, 50 cent. By Mail be represented and, if possible, we will For the Pianoforte Scale and Arpeggio Studiei People's Popular Monthly.. 1 1.75 Never has there been a time when every j,ave as many original four-hand pieces as Among the successful writers of draw¬ ) ’Save 25c Offer person looking for business should not be are avaiiable. For the Violin. Book I special point of technic. The exercises sively, beginning wl_ January, 1919 ing-room music, Paul Wach is in the fore¬ and ending with a tabulate__ more on the alert, more ready to accept We will have this work on special offer most class. His music is drawing-room By A. Blumenstengel are rather Grief In length, most of them l $2.25 sieal History, each subject being explain— Album of American Composers. the opportunities that are coming, than onl for a short time, and we would advise music of high character. In addition to This valuable new Presser collection ’’eing of sixteen measures only. They are J Save 50c through the medium of a aeries of practical Birthday Jewels, Geo. L. Spaulding- just now. The whole strain of war has t action on the part of those whc questions and answers. pleasing the ear, it has a certain finish of number will be continued on special offer tfl,ly planistic in character, and in addi- While a Primer may be used during . — Bohm Album for the Piano. passed and we must be ready to take ad- S r n excellent" ■ attractive■■ "- volume1—j trfor" excellent workmanship. Our new collec¬ during the current month. It Is to the t,on. to ^’eir technical work, they have THE ETUDE. J $0 OC Celebrated Compositions by Famous r . «...__1 ..C „11 1.J-huP UCS11U siUerable period, a quick and aure method of vantage of the renewal of all business that players of the fourth and fifth grades. tion will contain all the most successful of violinist what Schmitt’s Five-Finger Exer- musical excellence. Such a book as this McCall’s Magazine.V.V.'.: leamfng the notea ia deeirable: Composers... has been affected. All matters pertaining Our advance of publication price will be Paul Waeh’s compositions, chiefly in the rises is to the pianist. One of the indis- may be used to good advantage over a Comprehensive Violin Method, Mr. and to education will without doubt soon be 50 cents per copy, postpaid. Mrs. Benjamin . intermediate grades from III to V, includ¬ pensable works for daily practice. Our considerable term of years, taking various THE ETUDE. rW7K SUTOR’S NOTE SPELLING on a normal basis. Educational affairs are ing such great successes as Shower of Modern Priscilla.[.."i f ^ Difficult Four-Hand Album. the last affected and the first to be new edition has been prepared with the numbers for daily practice. Our special BOOK David Bispham’s Album of Songs. Mr. David Bispham’s Album Stars, Ballet Mi//non and others. The utmost care and will be found superior in introductory price in advance of publica- A Writing Book for Learning the Notes resumed. special introductory price in advance of Eroticon, Emil Sjogren. While it is true that ’our business has Of Selected Songs all respects. The advance of publication tlon is 60 cents per copy, postpaid, THE ETUDE... ISO HA By ADELE SUTOR Price, 30 cenl Hymn of Praise, Mendelssohn. The Bispham Album, which we have had publication is 25 cents, postpaid. People's Home Journal. V o.UU This is the up-to-date way of teaching am been affected to a small extent, it has cash price is 20 cents, postpaid. To-day’s Housewife.j Save 75c L’Art du Clavier, Lack.'• the honor to announce during the last few ipressing the main principles of notation oi. mostly been through lack of efficient help. Premium Gifts e child mind. First, the words, printed in Marchesi Elementary Progressive Exer¬ In volume there has been little change, and months, will be one of the most interesting Celebrated Compositions cises for the Voice. For Etude Workers The etude. 1 $q per usic notation on the staves, are to be written we look for a most prosperous second books of its kind ever prepared for the By Famous Composers Trial by Jury—Operetta idei'iicath in letters. Then the proci New Orchestra Folio, Parts . vocalist. Anyone who has ever been pres¬ By Arthur Sullivan The Etude offers friends who send sub¬ Pictorial Review.} New Orchestra Folio, Piano . teaching term, that starting with the pub¬ This is a splendid all-round collection of The selection of an instruction book lication time of this issue. ent at one of Mr. Bispham’s recitals knows Throughout the country we note the scriptions many useful and attractive gifts Paul Wachs’ Album. piano pieces, just such pieces as every ime importance! The Theo. Presser Company offers that every number t pianist wishes to have for almost daily ■' fl» of considerable activity among reward them for their efforts. A Jew the etude. ) cn ...equalled facilities for the supplying of been selected for its interest. Mr. Bispham Scale and Arpeggio Studies for Viol reference. It is most convenient to have tear organizations addicted to the pro- "T mentioned .clow and many more are Christian Herald.j slve 75c THE BEGINNER’S BOOK every_J _.necessity of__ the_ . music: teacher by has_ in this way uncovered a great amount Book I, Blumenstengel. , I--1,---rjtal and charming vocal material such an assemblage of pieces all under Suction of light musical and dramatic J}“8trated RJUD.E. Premium School of the Pianoforte Spaulding Album for the Pianoforte. . mail order. We have been complimented of , one cover, representing some of the most works. One of the best works suitable for . .= 1919--rv> 8 CPft «we- Can lie carried in ANNOUNCEMENTS . ,, is desirable to gitve the young price for this volume ir advance of publi¬ Marchesi books and the Elementary Pro- h Spaulding singer and teacher, Mr. Nicholas Douty. For TWO Subscriptions. For the Pianoforte history of our country. that the price of The Etude is now $1.75 This is the latest volume in Mr. Spauld¬ Tkt advance of publication price is 25 PRICE, 50c per year. The price to Canada is 25 cents pupil can be taught everything connected First Recital Pieces. 37 pieces for the ing’s popular series of piano pieces, ac¬ «nts, postpaid. piano. A collection of the very easiest pieces, such additional. The price to all foreign coun¬ with the pedal. We strongly advise every Music companied by appropriate text. Birthday- s may be assigned to elementary pupils at tries, 72 cents postage additional. teacher to have at least one copy of this Handel Album. 16 pieces for the piano. le earliest possible stages of their advance- On Sale book on hand. It will he just one more Jewels is a worthy successor to Tunes and Presser's Standard Mozart Sonatas. Two volumes. Either ",'vnt. The first pieces in the book lie en¬ The plan followed by the Theo. Presser y Rook thing which the teacher can impart to the Rhymes, Youthful Diversions, Well-Known volume. tirely in the treble clef for both hands, a few Orchestra Book I' OR SALE, — Steinway Parlor Grand being in the five-finger position in either hand. pupil. There are things connected with Fables and Souvenirs. This new book con¬ Tsic , . , , Sonatas. Volumes 1 and 2. J. Haydn, Piano; ebony finish; excellent condition; Many teachers nowadays prefer to use easy 2SS2.taM& rffigaslTsUrUeT, Music Teachers sists of twelve pieces, each named for one is the title adopted for our new Either one $500. Theodore Hoffman, 515 W. 122d IsTostiibera-andhas been found of the At this season of the year .every prae- the pedal that were never thought of by ‘ on pieegs ^which have words for sing- of the months of the year, with its appro¬ Street, New York. greatest value and convenience to tens of heal teacher should have a pocket mem the average pupil. It is something that Wc win"8 W!i!Ch iS ?T nb’ of our raost suc- Manicure Brush.' Fine horsehair brush; incorporated; wonderful location in large THE PLAYROOM convenientlv, has less than a hundred ..glad to bring- out this. work, c. ^lul,, ,, .-uuiuvcis orchestra numbers miall lioundUUUIIU to-LU¬ bristles twisted in wire so that they can¬ Middle West city; fullest investigation in¬ vocal or instrumental To those who have an On Sale package vited. Address communications "Illinois,” pages of thin paper. First it contains a important part of piano playing, Comprehensive Violin Method ST “1 c.on’Pastof 5HJSIC COMPOSED—Rend words. Man¬ selections. We look forward to having this work Bohm'°* ibe best and mo** popular of uscripts corrected. Harmony, correspond¬ or all of the above. A postal card will teaching material. There is aLo t take its place among the standard meth¬ ple

Schools and Colleges ^ Schools and Coll^^es NEW YORK, NEW ENGLAND AND PENNSYLVANIA __MIDDLE WESTwreT ANDANT) WESTERN AMERICAN NEW YORK SCHOOL OF MUSIC AND ARTS CHICAGO MUSICAL COLLEGE CONSERVATORY Opposite Central Park, cor. 95th St., New York City RALFE LEECH STERNER, Director The Leading and Largest School of Music in America-53d Year of MUSIC New York City’s most beautiful and home-like School devoted to Music and the Allied Arts with UNSURPASSED BEAUTY OF SCENE FACING CENTRAL PARK WINTER TERM NOW OPEN No advance in rates and with the same celebrated faculty including Arthur Friedheim, Ralfe Leech Sterner, Aloys Kremer, Harold A. Fix, Clarance de Vaux Royer, Unsurpassed faculty of IPO eminent instructors Illuminato Miserendino, Frank Howard Warner, S. Reid Spencer, Mable Rivers Schuler, Mme. Clara Lopez, Helen Wolverton and others. DORMITORIES IN SCHOOL BUILDINGS AND PROPER CHAPERONAGE WITH MANY SOCIAL AND RECREATION ADVANTAGES. OPEN THE ENTIRE YEAR. PUPILS MAY' pOURSESand private l^ns in PUno. Voice Vioiia. S! ENTER ANY DAY. TWO PUBLIC CONCERTS EVERY WEEK. TERMS, INCLUDING TUITION, BOARD, PRACTICING, ETC., ON APPLICATION. VoiceIViorUnQan^'Pub?ice^3iiocdI1Music^00D^3l(nn^Dai^MMki^iwarded.^^PubUc^Ewital^we«ki^^n SEND FOR BOOKLET AND TEACHERS’ BIOGRA HIES i MEHLIN PIANO USED EXCLUSIVELY^ as r»a

(k weeks, ;^ItGr^^ n^flass.^ Pul0r . 0 *140M0 The Way to Make Playef’s c S«a22r *3d COMBS CONSERVATORY prizes to^cal and*violin students. Complete new catalog on request. ^ ^ 571 Kimball Hall AMERICAN CONSERVATORY OF MUSIC PHILADELPHIA and Man THIRTY-FOURTH YEAR A Reiidcntia! and Day School ol * complete Inches' ^•Virgil Method A SCHOOL OF INDIVIDUAL INSTRUCTION [YCEUM (Theoretical and Applied Branches Taught Prirately and in Classes) Because of its distinguished faculty, original and scientific methods, individual inst Teacher’s Course $125.00—Enter any time COLUMBIA Louise Burton SARTS ideals, breadth of culture, and moderate cost combined with efficient management Combs SOPRANO CoNstavAToar affords opportunities not obtainable elsewhere for a complete musical cdm...- g SCHOOL/ OF-” roNSERVATOHY Faculty: Gilbert Ra,nolds Combs.Piano; Hugh A. Clarke, Mu*. Doc., Theory; William Geiger, Mu*. Bee. Viol, For explanations write Mrs. A. M. Virgil Availably to Concerts^Ora- | laconaoKATtoi Notion A. Choslnutt. Voice: Herman Slndby, Violoncello; Ruosell King Miller, Organ, and 75 assistant teschei ELIAS DAY, DIRECTOR All branches. Normal Training Course for Teachers. Public School M Complete Military Band Department. Four Pupils Recitals a week, SSES'iS; if Pennaylva VIRGIL PIANO CONS. 11 West 68th St., New York NWUSIC Pupils' Symphony Orchestras. Reciprocal relations with University in the Stale with Dormitories for Won, A School of Inspiration, Enthusiasm, Loyalty and Success havemicured concert pomuon. m the lut fiv. Illustrated Year Book Free PIANO JOHN B- CALVERT, D.D., Preside! VOICE KATE S. CHITTENDEN, Dean School Pprofessionalrofessional GILBERT RAYNOLDS COMBS, Director 0ffic|*'o.Sdtu.dri5‘Ra«n.d £™t.tor,e* Piano, Theory, Voice, Violin write lor detailed mlortluiUon and trw auk*. STRINGS Public School Music Methods Address trank A. Morgan. Manager. PUBLIC SCHOOL MUSIC -of I ictureic Playing Dept. E 33rd Year, ORGAN Individual and class instruction . Pracnetwork 600-610 LYON & HEALY BLOG., Chlcajo Oct.l, 1918 HARMONY * Kindergarten. Ear Training, Sight Read- COMPOSITION Ins Orchestra Conducting, History of ZECKWER-HAHN Music, Demonstration Children's Classes, 212 West 59th St.,New York City ^^p^CHOLOGY , LOS ANGELES, California PITTSBURGH Send for Circul id Catalog 60 * students’ Orchestra and Chorus. PHILADELPHIA Academy COLUMBIA SCHOOLvOFh!MUSlC Michigan State Normal College MUSICAL INSTITUTE, Inc. . Box 87. 1 J Conservatory of Music The live school of the district Ypsilanti, Michigan 4259 Fifth Ave. BURROWES COURSE of music study ~ WHO CAN QUALIFY FOR Courses in singing, piano, organ, violin Kindergarten and Primary—Correspondence or Personal Instruction and theory. Associate Faculty Membership Private Teachers Courses for training supervisors and Offers courses In Piano.Vowe.Vlohn.Oit**. DR.N. J. ELSENHEIMER= Crane Nornial Institute of Music ular CONSER VATORY *!^^,TAGES teachers of public school music. Theory. Public School Music and Dramas. Composer Pianist Artist Pedagogue — »tp. Work based oo Training School for Supervisors of Music Graduation leads to a life certificate COMPOSER OF THE PRIZE CANTATA BOTH SEXES r. H. SCOTT, Kimball Hall, Chicago. '‘Consecration of Arts.’’ Author of “Scale Voice culture, sight-singing, ear-training, valid in most states of the union. Climbing.” Endorsed by great authorities. Total living expenses need not exceed Residence; 522 West 136th St.. New Y«k City practice-teachi n g? raduates hold important posi- five dollars per week. Tuition and fees Phone 4860 Morningside exceptionally low. Write for catalog. Busmen Address: TheGRANBERRY PIANO SCHOOL 53 MAIN ST.!’ C' " POTSDAM, NEW YORK Dir. CONSERVATORY OF MUSIC, 839 Carnegie Hall, New York City Lake Forest BOX 9, YPSILANTI, MICHIGAN. INSTITUTE OF MUSICAL ART University School of Music Lawrence Conservatory education in a cultured home en- OF THE CITY OF NEW YORK One of the foremost Milwaukee-Downer College of Improved Music Study Conservatories of Milwaukee, Wis. for Beginners FRANK DAMR0SCH, Director,1 the Middle West Department of Music DUNNING SYSTEM 'or Music School W Offers Piano, COrgan, Violin,. Voice Trainitv X) Teachers—Classes Larger Every Year-Teachers Earning $2500, $3000 and $4000 Theory of Mus..lt„«i„ .,..ui a Teachers' Course i a Year with the Dunning Work Alone—Why is This 7 BEAUTIFUL location; excellent buildings; Public Schooi^Musi.^; The degree Bachelor., i Because its at.nd.rd ha. never been equaled or auch phenomenal re.ult, obtained —Ithaca Conservatory of Music=7 by any other plan for teaching beginners. Ml Minneapolis School oi Music, faculty of well-known artists; courses il advantas in all branches of Music, theoretical and For catalog “U,” addre.. REGISTRAR MRS. CARRE LOUISE DUNNING NORMAL CUSS FOR TEACHERS, New York Ctty. Normal applied; beautiful dormitories; connected Classes, Los Angeles, Cal., February 8th, 1919. filling highest D-TT.T.TAM H. PONTIUS Director, Dramatic Ar Mrs. Oscar E. Busby, Nashville, Tenn., July 22d| Little Rock, Ark., Sept. 16thi Mobile, Ala., with a high-grade college; reasonable terms. ,lr60.O62 EtoenufsuSo. MINNEAPOLIS, MINN. Mrs. Anna Craig Bates, Normal Class, San Antonio. Address 3303 Coke a?*",**’ APPLETON, WISCONSIN Miss Mary E. Br.ckisen, Normal Classes, Toledo, Ohio, January 1st, 1919, Muskogee, Okla., The Registrar, 1 De Witt Park, Ithaca, N. Y. Jun. istk. lata -tea I™— okll., January 6th, 1919, Chicago, Master School of Music IL iT i “ 110 Remsen Street, Brooklyn, N. Y. “Strongest Faculty in the Middle asses^Wichital^Ka'ns., Sept. 3d; Topeka, Kans., Courses taught by a competent and € Cl««“’KNew Orleans, La., January 10th, 1919; INTERNATIONAL cat/on^agency perienced faculty embrace nearly eve Chicago, IIITMay !«, 1919; Ft. Worth, Texas, June phase of music—Theoretical, Vocal and ] A School which offers every advantage MRS. BABCOCK strumental. Additional courses in dramatic qjuiy let, 1918, Rochester, N. Y. Address 50 Erion /"hFFERS Teaching Position*, Col- training and rhythmic dancing are offered- incidental to a broad musical education' L/ leges, Conservatories, Schools. tsses, Dallas, Texas, April 20th; Denver, Colo., June Particular stress is laid on interpretation, and Mrs. Wesley Porter Mason, Normal Also Church and Concert Engagements the work is planned to develop individual n -- r•• • Teachers Practical Work Applicable to Their Needs Fifty artist teachers. Highest standard*- 20th, 1918. Address 5011 Worth Stl Dallas. T«»W Addre8S 78 W. 103d St., sical taste and understanding in each stude Special C-XI^TfACILITIXS EXCELLENT -NO BETTER ANYWHERE . . k,*' Harr>’ A- Prentice, Normal Class, New ' Artistic environment. CARNEGIE HALL, NEW YORK Graduates of the Master Music School are ne New York City. Texas, August 5th and Sept. 16th, 1918. machine-like singers or performers. The sch Mrs. Mattie D. Willis, Normal Classes, Ws dormitory offers an opportunity for out-of-to For Catalog Address Address 617 S. 4th St., Waco, Texas. girls to benefit by the artistic life of New Y. Full information and booklet of Foreign and America; users. 8 West 40th St., New York City and live in a cultured, home-like atmosph* GRACE CHAMBERLIN, Business Manager For catalog address the Registrar. 1117-1119 WOODWARD AVENUE - DETROIT, MICHK*-^ GRANBERRY PIANO SCHOOL Teachers’ Training Courses EACHERS : PIANISTS : ORGANISTS : SINGERS A MUSICAL EDUCATION SHOULD Your Name Should Appear in PROFESSIONAL DIRECTORY FAELTEN SYSTEM. Booklet BE OBTAINED FROM THOSE ^fJeagzuL"\n1!l/Ione1y &-32s?3arsZzsat CARNEGIE HALL - - NEW YORK BEST EQUIPPED TO INSTRUCT THE ETUDE, Theo. Philadelphia (See page 64) The cost is small. The advantage is inestimable. Please mention THE ETUDE when addressing oi Please mention THE ETUDE when" addressing* advertisers. THE ETUDE Page 6k JANUARY 1919

^Schools and Colleges magazine bargains for the new year and Colleges< ETUDE readers wdl find listed here some attractively priced combinations of THE ETUDE and other leading magazines. By ordering in combination considerable SOUTHERN saving may be effected. THE ETUDE will gladly quote prices on any clubs not given here. OHIO Send a postal for a copy of thenew 1919 magazine guide. It lists many money-saving clubs and will be sent free on request. All subscriptions are for one year, new ESTABLISHED 1857 THE ETUDE . . . 1$450 CINCINNATI CONSERVATORY of MUSIC established iser. THE ETUDE . . . . I$J75 THE ETUDE . . . CONSERVATORY * 1 $3~ Delineator . ) To on People’s Popular Monthly . PEABODY__ BALTIMORE, MD. * j Save 25c McClure’s Magazine - J Save 50c Everybody’s . j Addre j Save 51.25 HAROLD RANDOLPH, Director $4§0 Elocution—MUSIC—Languages the ETUDE . . . •]*2- THE ETUDE . . . .U325 THE ETUDE . . . Faculty of Internationa] Reputation One of the oldest and most noted Music Schools in America. Today’s Housewife . SaveSOc Pictor'al Review . . Review of Reviews . Exceptional advantages for post-graduate and repertoire •j work. Department of Opera. Ideal location and residence department with superior equipment. the etude . . . THE ETUDE . . . THE ETUDE $450 Master class for virtuoso violinists under BEETHOVEN CONSERVATORY • | $2— ■ 1*352 EUGENE YSAYE Season 19X8-19 SS. McCall’s Magazine . •J Save 50c f Christian Herald . . World’s Work One of the oldest and best Mnsic Schools m the United States 4525 Olive • 1 a. THE ETUDE. THE ETUDE.. . . $350 THE ETUDE . .. *A*0 $2Z§ Pictorial Review. American Magazine . ) To one DANA’S MUSICAL INSTITUTE Woman’s World. Save’75c Woman’s Home Companion ) Address WARREN, OHIO Mrs. CROSBY ADAMS Hahn Music School THE ETUDE. THE SCHOOL OF DAILY INSTRUCTION IN ALL Chat. D. Hahn, I $275 THE ETUDE ...... $4 75 Private and Class Teaching McCall’s Magazine. 1*352 BRANCHES OF MUSIC The School for your Daughter Woman’s Home Companion Musical Technique Interpretation Our catalogue tails why Little Folks. Save 50c Modern Priscilla. 1 Save 75c Youth’s Companion ( new ) San $1.00 Address LYNN B. DANA, President Desk E, WARREN, OHIO 3919-s Junius Street, Dal let, Tex. Address: MONTREAT, NORTH CAROLINA THE ETUDE.1 $goo THE ETUDE.j $2~ McCall’s Magazine.' *3” THE ETUDE . . . People’s Home Journal. John Martin’s Book Modern Priscilla.j Slfe so

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